View allAll Photos Tagged PageTurner
The dwarf's ocean ;-) he doesn't sail on rough seas, to tiny he is. He leaves that to the giants and protects planet Earth. He doesn't measure the height of the waves. Who is he? He is a sailor of words ;-) and a gentle summer breeze is his page turner. Click "L", maybe you can read something too.
~HBW~
© Leanne Boulton, All Rights Reserved
Street photography from Glasgow, Scotland.
Captured in November 2024.
A thrilling novel by all accounts. So thrilling you just can't put it down it would seem.
Thank you all for your comments and favourites. I am grateful to you all. Take care.
For the Macro Mondays theme: Book
Thank you very much for your time, faves and comments, it's much appreciated
Happy Macro Mondays
Another image from my Magic of Books series. I have a couple more ideas kicking around for this series now and I still have a couple more I want to create with a Wacom Tablet; when I get one.
Let's Get Creative #3 Books
ODC - On The Move
TOTW - Word
The Gutenberg Bible, digitised by the HUMI Project, Keio University, July 2005; © National Library of Scotland
The Gutenberg Bible was the first book printed with moveable type. Printed in Mainz, Germany, around 1455 by Johannes Gutenberg, the inventor of printing, and Johannes Fust. One of around only 20 complete copies to survive out of the original 180. Two volumes. Also known as The 42-line Bible or The Mazarine Bible.
A page from the Old Testament from the chapter I Maccabees, contains handwritten red rubrics. Decorated initial M; historiated initial U (the correct initial should be E) depicting King Alexander hitting King Philip of Macedony. The Greeks under Alexander had conquered Judea. Marginalia visible but faded through washing.
No 2. Music, words and flute accompaniment. Headpiece illustration of woman leaning against a rock in the countryside with a town in the distance. Set to Music by Mr Lampe. First line: Blow on ye winds.
Calliope, or, English harmony is a collection of English and Scottish songs engraved & sold by Henry Roberts, engraver & printseller in London between 1739-1746.
For the Macro Mondays Theme: My Favorite Novel (Fiction) : The lost Symbol by Dan Brown
Besides photography, reading is also one of my great hobbies. Unfortunately, I do not always have a lot of time to read. Besides thrillers, detectives, romantic or adventure stories, I also like to read novels based on a true story. The most difficult question was actually: What is my favorite book, because I just love a lot of genres. I do not really have a super favorite. The next difficulty: You have to try to present the book as a macro photo, not an easy task as far as I'm concerned.
I have chosen the book "Lost Symbols" by Dan Brown. One of the many symbols that come up in this story to finally unravel a mystery is the "allmighty eye". (This icon is also used in some of the book-covers)
I might have been able to work out this image a bit better, but due to the flu, I was in a bit of a time trouble.
A special thank you very much for my patient husband, who has been the eye-model for this shoot.
Thank you for your time, your faves and comments. I really
appreciate it.
HMM
Chaos list. Lick to add description.
To view all my site you will have to alter your safe search filter to moderate.
www.flickr.com/account/prefs/safesearch/?from=privacy
This is because of a bizarre quirk of Flikr : my work is (perhaps) more suitable for adult consumption but I don't have and never have had any porn.
Our Daily Challenge: Good to read
Robert Goddard's The Wide World trilogy. This is the third book, The Ends of the Earth.
When stories catapult you to new worlds. You become encapsulated by the words on a page that it serves as an escape from day to day life.
I’ve been really inspired to start writing lately, and I guess that came out in this weeks shoot. Thanks to Melissa Henderson for putting up with the awful mosquitos during this shoot. I’m actually pretty happy with how this turned out, Especially considering 10mins before I finished I thought that it was going to be terrible. Hope the picture is enjoyed. Thanks.
Pairs with the key at the link to make the color version of the woodcut in progress...stay tuned for proofs!
Will roll up in colors different than I drew it in here for carving...
I just finished reading this book, could not put it down, although I have to go to visit my daughter Arisa and her family, along with my other two offspring and their children.
Thanks for visiting, enjoy your weekend
Another visit to the wonderful collection from the Poole studio in Waterford. Each time I upload one of this collection I think how lucky Waterford is to have their history recorded so beautifully and preserved for posterity by AH Poole! I know that there is at least one place named after Sir Henry but who was he and why did the Marquis commemorate him so?
Several contributors provide information on this memorial (and the man it commemorates). Oaktree_brian_1976 provides a link which describes Sir Henry (Page Turner*) Barron (1824-1900) as a career politician as a career politician and diplomat.
(* Yes. Page-Turner. We laughed too :) )...
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: c.8 November 1927
NLI Ref: POOLEWP 3466
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
A man plays a piece from Liszt (apparently!) on a grand piano in the Galerie de la Reine (Koninginnegalerij) of the Galeries Royales Saint-Hubert, assisted by a page-turner (notice the stick used to indicate on the music sheets).
"PAGE TURNER"
10.5" x 12.5" Color Woodcut on Natural Kitakata Paper
Valerie Lueth, 2017.
Made this little book print last Fall; not many remaining in the limited edition--remaining prints are available at link below!
I got my copy of In Her Own Image in the mail today!! Weee! I frantically knifed the box open and took it out immediately. I have to say, it's frickin gorgeous. And not just because I'm in it, or because I helped design it, but because the caliber of female self-portrait artists featured in it is out of this world. It's 316 pages of WONDERFUL.
It is something I am going to cherish forever. I feel SO lucky, and am so thankful to be a part of it. Big huge amounts of love to everyone who put their time and energy into this... It's all been worth it.
Waiting for some minor repairs on my car. There is a really beautiful walk right near our dealership, and I actually sort of look forward to taking the car in so I can take that walk, but the temperature was near 0F that morning. A good cup of coffee from a home, a pageturner, and a film camera made up for having to wait.
Nikon F with expired Kodak Gold 200 film.
Printing B&W version of the "PAGE TURNER" Woodcut! I decided to make both a color & a B&W version of this print...more details and pre-order options at the link! www.tugboatprintshop.com/woodcut_pageturner.htm
Photograph of a three storey tenement building covered in eleven large poster advertisements. The posters cover one entire side of the building and are for a variety of different products. On the right there is a washing line with some laundry hanging from it. Some of the posters are simply text eg. Edinburgh Empire, while others include images eg. Camp Coffee.
Permanent URL:
http://digital.nls.uk/pageturner.cfm?id=74506960
From Photographs of the southside of Edinburgh , Scotland. Taken by Alfred Henry Rushbrook in 1929 for the City of Edinburgh Improvement Trust.
Pedestrian footbridge is part of the Calvin S. Hamilton Pedway:
"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
www.kcet.org/socal/departures/landofsunshine/block-by-blo...
"The pedways fall within the Downtown Center Business Improvement District, but the organization's CEO says its strained resources can only cover maintenance crews on the pedways about once a week."
articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20...
----
Los Angeles World Trade Center:
350 South Figueroa Street
Built 1974
Original Developer: Edward K. Rice (general partner of Bunker Hill Center Associates)
ZIMAS:
Central City Community Plan Area, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 ft of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone.
Assessment:
Use Code: 2730 - Parking Structure (Commercial)
Assessed Land Val.: $1,154,591
Assessed Improvement Val.: $1,500,967
Last Owner Change: 07/14/06
Last Sale Amount: $9
...
Year Built: 1974
It was decertified by the World Trade Centers Association in 1983, but limped along anyway. A "Greater Los Angeles World Trade Center" was subsequently built in Long Beach. The two merged into one organization in 1989. This latter is now a subsidiary of the Los Angeles County Economic Development Corporation (LAEDC).
In the early 1990s there was an attempt to reorganize the space as a more public retail space oriented at evening uses and take advantage of the pedestrian infrastructure:
"Haseko's revitalization plans include three full-service restaurants--Italian, French and Japanese--stages for live performances, a video rental store, an art gallery and a newsstand. The restaurants would open onto the center's mall-like main concourse, which is connected through pedestrian bridges to the Bonaventure and Sheraton Grande hotels, Security Pacific Plaza and Bunker Hill Towers. 'We want to create a streetscape here,' said Haseko Vice President and General Manager Terry Tornek. 'This is a logical crossroads.'"
articles.latimes.com/1991-01-11/local/me-8359_1_bunker-hi...
This was opposed by residents of Bunker Hill Towers who had grown to quite like the quietness of downtown at that time.
Apparently part of the building is now (2013) being used for a charter school.
www.emporis.com/building/losangelesworldtradecenter-losan...
articles.latimes.com/1988-09-26/business/fi-1869_1_trade-...
articles.latimes.com/1988-09-26/business/fi-1867_1_world-...
articles.latimes.com/1989-03-20/business/fi-201_1_trade-c...
----
Citi Building:
aka CitiGroup Center aka 444 Flower aka 444 Flower Building aka Flower Building aka L.A. Law Building aka 444 aka 444 Building
444 S. Flower Street
Built ca. 1976–81.
Architect: A.C. Martin & Associates
en.wikipedia.org/wiki/Citigroup_Center_(Los_Angeles)
www.hines.com/property/detail.aspx?id=2243
www.emporis.com/building/citigroupcenter-losangeles-ca-usa
forum.skyscraperpage.com/showthread.php?t=154492
----
United California Bank Building / First Interstate Tower building / Aon Center:
707 Wilshire Boulevard
Built 1970–73.
Architect: Charles Luckman (or at least The Luckman Partnership)
Client: United California Bank (with note of the particular influence of Norman Barker Jr.), financed by United California Bank and the Equitable Group
Project management for post-fire clean-up and other work ca. 1988–89: Abraxas Architecture
Renovated: 2008 by Johnson Fain Architects
In 1988, part of the building caught on fire, injuring 40 people and killing one.
en.wikipedia.org/wiki/Aon_Center_(Los_Angeles)
articles.latimes.com/keyword/aon-center
brighamyen.com/2012/02/17/did-you-know-downtown-los-angel...
articles.latimes.com/2010/sep/16/local/la-me-norman-barke...
www.glasssteelandstone.com/BuildingDetail/3624.php
forum.skyscraperpage.com/showthread.php?t=152120
skyscraperpage.com/cities/?buildingID=1291
articles.latimes.com/keyword/united-california-bank
digital.lib.washington.edu/architect/structures/6162/
en.wikipedia.org/wiki/First_Interstate_Tower_fire
blogdowntown.com/2009/09/4647-downtowns-history-light-on-...
www.lafire.com/famous_fires/1988-0504_1stInterstateFire/0...
www.lafire.com/famous_fires/1988-0504_1stInterstateFire/E...
www.drj.com/drworld/content/w1_119.htm
www.abraxasarchitecture.com/fitfire.html
www.emporis.com/building/aoncenter-losangeles-ca-usa
www.mkp-us.com/building.php?portfolioID=4&building=AO...
----
Westin Bonaventure:
404 South Figueroa Street
Built: 1974–76.
Architect: John Portman
ZIMAS data:
Central City Community Plan Area, Los Angeles State Enterprise Zone, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone
Assessment:
Assessed Land Val.: $31,878,705
Assessed Improvement Val.: $20,033,803
Last Owner Change: 12/18/95
Last Sale Amount: $260,002
...
Year Built: 1976
Famous for the elevators, the revolving cocktail lounge, the mirror glass exterior, et cetera et cetera, and for being the star of a famous essay by Fredric Jameson on postmodernism.
Before I get into that, let me just say that what I currently find interesting about the Westin Bonaventure and the urbanism of this section of Figueroa and Bunker Hill in general are the really complex histories about what was happening with and against modernism from the 1950s through the 1980s, especially in Los Angeles, especially with regards to Bunker Hill, housing, car culture, et cetera.
But with the Westin Bonaventure in particular, I'm also interested in visual/formal comparisons with both Prentice Women's Hospital in Chicago (1975), the BMW headquarters in Munich (1968–73), and LaForet Harajuku (1975–80).
www.nytimes.com/2012/10/18/arts/design/adapting-prentice-...
en.wikipedia.org/wiki/BMW_Headquarters
www.mori.co.jp/en/img/article/en081121.pdf
Or in terms of textures and materials, there's the more local Samuel Goldwyn Theater:
www.flickr.com/photos/jannon/4653822940/
(There used to be a lot more examples in Los Angeles of mirror glass facades combined with concrete, but I feel like a lot have been torn down.)
Because of its dramatic qualities and because of how Jameson explicated them, people don't really talk about this building in the context of Brutalism, even though that style arguably was just as interested in dramatic effects and complexity. (There's also the totally different social uses of the "main" buildings of each style as well, of course.)
Of course, I'm probably just massively ignorant and there are a ton of good books already out there that are full of chapters that explicitly talk about connections between architecture and urban planning in Los Angeles and the UK, with lovely details about Victor Gruen Associates and Milton Keynes and the Barbican and the Glendale Galleria. Even better if they also bring in Metabolism and connections with what was going on in Japan. Particularly since Mori Yoshiko seems a lot more important and successful at building the massive city-in-a-city projects than John Portman, on the whole. Anyway, if so, let me know what they are?
Jameson's essay (or at least the beginning of it):
newleftreview.org/I/146/fredric-jameson-postmodernism-or-... (original version, 1984, sub required)
books.google.com/books?id=oRJ9fh9BK8wC&lpg=PA39&v... (book version, first few pages of the part on the Westin Bonaventure)
books.google.com/books?id=wfd-c0blcb0C&lpg=PA103&... (another book version, w/ an intro by Asa Berger, again the first few pages about the Westin Bonaventure)
More of other people quoting Jameson:
" In Frederick Jameson’s essay on the utterly bizarre Westin Bonaventure in Los Angeles, he describes a 'postmodern hyperspace,' an emblem of the 80s trend in which building design hoped to create hermetically sealed miniature cities. At the Bonaventure, human activity is directed in a space threaded with fitness centers, plants that thrive without any natural light and functionless open spaces offering the blank hyperreality of grandeur and respite contained in concrete."
www.newmediacaucus.org/wp/a-room-to-view/
"Citing the example of the Westin Bonaventure hotel in Los Angeles, Jameson argues that 'this latest mutation in space -- postmodern hyperspace -- has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world'. The effect on cultural politics, according to Jameson, is that the subject 'submerged' by this postmodern hyperspace is deprived of the 'critical distance' that makes possible the 'positioning of the cultural act outside of the massive Being of capital.'"
muse.jhu.edu/journals/dia/summary/v029/29.3reynolds.html
"Its reflective glass façades seemed to disappear into their surroundings. Behind them (for those who could afford it) there opened up a city within a city. Portman’s Hotels—where client, financier, and architect were all one and the same—are for Jameson the epitome of late-capitalist space. He writes of the lobby: 'I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer, since these are impossible to seize. ... A constant busyness gives the feeling that emptiness is here absolutely packed, that it is an element within which you yourself are immersed, without any of that distance that formerly enabled the perception of perspective or volume. You are in this hyperspace up to your eyes and your body.'"
www.olafureliasson.net/studio/pdf/Ursprung_Taschen_S.pdf
Or drawing on Jameson:
"In his book Postmodern Geographies: the reassertion of space in critical social theory (1989), Edward W. Soja describes the hotel as 'a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles' (p. 243-44)."
en.wikipedia.org/wiki/Westin_Bonaventure_Hotel
See also Soja on Jameson on the Westin Bonaventure for the BBC: www.youtube.com/watch?v=oWlu3OlvL58
"Writing from California, Jameson imagined the whole new era was summed up in the alienating 'disorientation' one felt in hotels like John Portman's Westin Bonaventure in Los Angeles. Lost in its lobby, without any 'cognitive map,' Jameson found an allegory of a supposedly late phase in capitalism (coming before what?), which explained the kind of space to which French theory had unwittingly been leading us. For architecture, the art closest to capitalism, was the one best able to point out late capitalism's 'totality.' Frank Gehry, for one, was not pleased; more generally, at the very moment Jameson was confidently offering his allegory, architects like Gehry were departing from so-called po-mo (quotationalist, historicist) architecture, often to rediscover modernist strategies. Indeed, the architects that the Museum of Modern Art would group together in a 1988 exhibition as 'deconstructivists' (e.g., Gehry, Rem Koolhaas, and Peter Eisenman) were linked less by any sustained interest in Derrida than by their contempt for postmodernism. Jameson, though, was unable or unwilling to give up the 'totality-allegory' view of works, and in the face of this and other difficulties, he was gradually forced to admit that he no longer knew what to do with the categories modernity and postmodernity. In the absence of new works or ideas to 'totalize,' he tried to look back and reassert the Marxist sources of critical theory, now itself in a late or disappointed state."
—John Rajchman, "Unhappy Returns: John Rajchman on the Po-Mo Decade. (Writing the '80s)," Artforum International, Vol. 41 (2003), No. 8
www.questia.com/library/1G1-101938549/unhappy-returns-joh...
"The programmed music of the Westin Bonaventure Hotel in Los Angeles follows patterns of use typical to that of most programmed music. In the large open expanse of the lobby/atrium, music is always playing in the background. During the mornings and early afternoon typical small jazz group arrangements are played, never with vocals, and as the day progresses and the bar opens for the evening the music slowly shifts towards a more upbeat genre, signaling to the guests that the objectified content of the contemporary nightlife experience is beginning. Speaking to the maître d’ at the reception desk, however, he informed me that the neither the amplitude of the music nor its aesthetic intensity ever crosses above a consciousness level threshold where any guest would be forced to acknowledge its presence."
music.columbia.edu/~alec/page2/assets/Muzak%20as%20the%20...
"Downtown Los Angeles is notoriously quiet in the evening; the streets develop an abandoned, out-of-season feel, and the BonaVista Lounge shared some of this atmosphere. At first we were the only customers. Two people drinking alone in a revolving restaurant -- now there's an existential image for you. . . . It had been a clear, sunny day and now the sky was coalescing into a spectacular sunset. Because we were downtown we had a close-up view of some very untypical Los Angeles features: the few skyscrapers in this essentially low-rise city, shiny corporate blocks; then beyond them were the more familiar Los Angeles sights -- mountains, interweaving freeways, the vast ground-hugging grids of street lights, all bathed in a deep orange light. I wasn't so naïve, or so easily satisfied, as to think that I'd really found the perfect revolving restaurant; but for an hour or so, with the city far below, with a Cloud Buster in my hand, I found it hard to imagine anything better."
www.nytimes.com/2003/07/13/travel/done-to-a-turn-at-360-d...
"The Westin Bonaventure Hotel looks like something out of Robocop. Typical of architect John C. Portman Junior's style, at its heart is a large atrium and multi-story labyrinth of walkways, shops, and mostly empty seating pods. The building's inward orientation and imposing exterior make it feel, if not as impregnable as a fortress ideally is, something like an arcology, biosphere or space station. It's designed to provide everything one would need for tourists and business travelers within its walls, although most of it shuts down after lunch. I just managed to grab a bánh mì from Mr. Baguette before its closing time of 3:00 pm. Forced to order my food to-go, after wandering around the building I ventured back out into the lawless outlands."
www.kcet.org/socal/departures/landofsunshine/block-by-blo...
www.thebonaventure.com/history/
www.starwoodhotels.com/westin/property/overview/index.htm...
www.bartlett.ucl.ac.uk/architecture/events/kreider-oleary...
www.nytimes.com/2006/06/22/travel/22iht-hotdesign.html?pa...
www.artslant.com/ny/articles/show/11785
memory.loc.gov/phpdata/pageturner.php?type=contactminor&a...
John Portman:
en.wikipedia.org/wiki/John_C._Portman,_Jr.
www.nytimes.com/2011/10/20/garden/john-portman-symphonic-...
----
Paul Hastings Building (the old ARCO Tower, one part of City National Plaza):
515 South Flower Street
Built 1970–72.
Architects: Albert C. Martin & Associates (A.C. Martin & Associates)
Renovated: 1994.
Owner: Thomas Properties Group Inc.
Also formerly known as: ARCO Center, ARCO Plaza, Atlantic Richfield Tower, ARCO Tower, ARCO building.
Built controversially on the former site of the Richfield Tower.
en.wikipedia.org/wiki/City_National_Plaza
en.wikipedia.org/wiki/Richfield_Tower
en.wikipedia.org/wiki/Paul_Hastings
www.cnp-la.com/building/history.htm
www.emporis.com/building/paulhastingstower-losangeles-ca-usa
skyscraperpage.com/cities/?buildingID=2730
www.southlandarchitecture.com/Building/3656/Paul-Hastings...
This retro US detective/pulp paperback features some glossy come-on text on the front cover. Cool thrift store find dating to the mid-1960s
This block will print under the key block to make the color version of the "PAGE TURNER" woodcut; both blocks will be rolled in rainbowed gradients for a light, transporting vibe that contrasts the crisp B&W version (also available)!
Color will NOT be as drawn on the block here (this is just for my guidance in carving)...ink applied will likely be gradiant of white tinted pastels :)
Pre-order available at the link for either option! You can see the B&W proof here:
Oh, the places you'll go... in the pages of a book! 📚✨ Diving into a different world with every turn of the page. What's your current #PageTurner? Let us know in the comments! 📖💬 #BookLovers #ReadersOfInstagram #Bookstagram #Bookshelf #LiteraryAdventures
Ramallah peasant spinning wool. Hand-colored photographs of Jerusalem and Palestine. Photographs were created by the photographers of the American Colony Photo Department, located in Jerusalem. Founded in the late 1890s by Elijah Meyers, the photo agency was headed during its heyday (ca. 1903-1933) by Lewis Larsson, whose staff photographers included Erik Lind, Lars Lind, Furman Baldwin, and G. Eric Matson.
Taken from the American Colony Jerusalem Collection at the U.S. Library of Congress.
[PD] This picture is in the public domain.
The Gutenberg Bible, digitised by the HUMI Project, Keio University, July 2005; © National Library of Scotland
The Gutenberg Bible was the first book printed with moveable type. Printed in Mainz, Germany, around 1455 by Johannes Gutenberg, the inventor of printing, and Johannes Fust. One of around only 20 complete copies to survive out of the original 180. Two volumes. Also known as The 42-line Bible or The Mazarine Bible.
Page from the New Testament - Gospel according to Mark, contains handwritten red rubrics. Decorated initial M; historiated initial I depicting the evangelist St Mark writing the Gospel of Mark; St Mark's symbol is a lion. Marginalia visible but faded through washing.