View allAll Photos Tagged Parallel
adjective :
extending in the same direction, equidistant at all points, and
never converging or diverging.
La construction du plus grand amphithéâtre de Rome débute en 72 ap. J.C. sur la demande de l'Empereur Vespasien. Ses deux fils, Titus et Domitien poursuivent sa construction qui s'achève en l'an 82. L’édifice s'appelle alors amphithéâtre Flavien, du nom de la dynastie de ces empereurs. Le nom de Colisée n'apparaît qu'au Moyen Age, en référence à la gigantesque statue de Néron de 35 mètres (appelée colosse) situé à côté de l'amphithéâtre. Avec ses 187 mètres de long, 155 mètres de large et 50 mètres de hauteur, le Colisée pouvait probablement accueillir 50 000 spectateurs avides de spectacles tels que les venationes (combats d'animaux sauvages), les munera (combats de gladiateurs) et autres spectacles publics. Pour améliorer le confort, le Colisée était équipé de 70 fontaines à eau et des marchands de nourriture passaient pendant les spectacles. Il est resté en service pendant près de 500 ans, les derniers jeux se prolongeant jusqu'au VIe siècle. Pour l'inauguration du Colisée, Titus donna une naumachie dans le Colisée transformé en bassin reconstituant la bataille navale de Corinthe contre Corcyre. Le bâtiment a finalement cessé d'être utilisé au cours du haut Moyen Âge. Il a plus tard été réutilisé pour des usages variés tels que des habitations, des ateliers d'artisans, le siège d'un ordre religieux, une forteresse, une carrière et un sanctuaire catholique chrétien.
En forme d’œuf, le Colisée présente 4 étages. Les trois premiers sont portés par des colonnes des différents ordres : Dorique (Rez-de-chaussée), Ionique (Premier étage) et Corinthien (Second étage). L'utilisation de ces trois styles montrent les évolutions artistiques connues durant l'antiquité. Cette succession d'arcades n'existent que sur les trois premiers niveaux, le quatrième, postérieur, est un mur plein (une pièce d'architecture que l'on appelle "attique") percé de petites fenêtres rectangulaires au rythme d'une arcade sur deux. L'attique servait à exposer de grands boucliers décoratifs, un peu comme un mur d'exposition. Au sommet, des excroissances encore visibles, permettaient de tendre une toile (le velarium) au-dessus du Colisée pour protéger les spectateurs du soleil. Ce voile était manœuvré par un détachement de marins de la flotte impériale basés à la caserne Castra Misenatium !
Le Colisée utilise plusieurs matériaux. Le principal est le travertin (piliers), le marbre pour des décorations, les murs rayonnants sont en briques ou en tuf, et les voûtes en béton romain. On s'est également servi de métal pour lier les pierres entre elles : pour s'assurer que deux blocs contigüs ne bougent pas on les perçait de deux trous et on y fixait une agrafe. Durant le Moyen-âge ces agrafes furent récupérées et fondues. On peut observer de nos jours sur la quasi-totalité des blocs des trous indiquant les emplacements des anciennes agrafes.
L'espace entre l'amphithéâtre et la façade est fait de deux couloirs circulaires mitoyens par étage. Le nombre de couloirs (vomitorium) permettait de faire sortir les spectateurs en 5 minutes. Chaque classe sociale avait sa tribune et ses couloirs avec leurs propres entrées. Les classes sociales pouvaient donc ne jamais se croiser dans le Colisée. Il existe un couloir spécial derrière le podium interdit au public, une sorte de galerie de service permettant de positionner des archers en charge de la sécurité des spectateurs.
La Cavea (gradins) est fortement dégradée et seule une toute petite partie des gradins a été reconstruite. Les gradins étaient répartis le long de la courbe de l'amphitéâtre. Les sièges les plus proches de l'arène étaient séparés par un mur de 3 mètres de hauteur (le podium), les plus hauts sièges étaient situés à plus de 40 mètres de haut. Les spectateurs étaient assis dans un arrangement hiérarchisé qui reflète la nature rigide et stratifiée de la société romaine. L'empereur était bien sûr tout en bas alors que la plèbe était au sommet. L'arène mesure 83m de long sur 48 m de large. Le sol était un plancher, parfois remplacé par de la brique sur certains endroits. L'arène couvre une vaste structure souterraine appelée « hypogée » (caves d'un bâtiment antique, partie souterraine) qui a été créé après l'inauguration, sous l'empereur Domitien et correspond à nos coulisses modernes. L'hypogée était divisés en 15 couloirs réalisés en brique et en blocs de tuf, bâtis parallèlement à une galerie centrale.
The construction of Rome's largest amphitheater begins in 72 AD. J.C. at the request of Emperor Vespasian. His two sons, Titus and Domitian continue his construction that ends in the year 82. The building is called Flavian Amphitheater, named after the dynasty of these emperors. The name of Colosseum appears only in the Middle Ages, in reference to the gigantic statue of Nero of 35 meters (called colosse) located next to the amphitheater. With its 187 meters long, 155 meters wide and 50 meters high, the Colosseum could probably accommodate 50 000 spectators eager for shows such as venationes (fights of wild animals), munera (gladiator fights) and other shows public. To improve comfort, the Colosseum was equipped with 70 water fountains and food vendors were running during the shows. It remained in service for nearly 500 years, the last games lasting until the sixth century. For the inauguration of the Colosseum, Titus gave a naumachie in the Colosseum transformed into a pool reconstituting the naval battle of Corinth against Corcyra. The building finally ceased to be used during the High Middle Ages. It was later reused for various uses such as dwellings, craftsmen's workshops, the seat of a religious order, a fortress, a quarry and a Christian Catholic sanctuary.
In the shape of an egg, the Coliseum has 4 floors. The first three are carried by columns of different orders: Doric (Ground floor), Ionic (First floor) and Corinthian (Second floor). The use of these three styles show the artistic evolutions known during antiquity. This succession of arcades only exist on the first three levels, the fourth, posterior, is a solid wall (a piece of architecture that we call "Attic") pierced with small rectangular windows to the rhythm of an arcade On two. The attic was used to expose large decorative shields, much like an exhibition wall. At the top, still visible growths, allowed to stretch a canvas (the velarium) above the Colosseum to protect the spectators from the sun. This sail was maneuvered by a detachment of sailors from the imperial fleet based at the Castra Misenatium barracks!
The Colosseum uses several materials. The main one is the travertine (pillars), the marble for decorations, the radiant walls are in brick or tuff, and the vaults in Roman concrete. Metal was also used to bind the stones together: to make sure that two contiguous blocks did not move they were pierced with two holes and a staple attached. During the Middle Ages these staples were recovered and melted. Almost all blocks of holes can be seen today, indicating the locations of the old staples.
The space between the amphitheater and the facade is made of two adjoining circular corridors per floor. The number of corridors (vomitorium) allowed to get the spectators out in 5 minutes. Each social class had its gallery and corridors with their own entrances. Social classes could never cross in the Colosseum. There is a special corridor behind the public banned podium, a kind of service gallery for positioning archers in charge of spectator safety.
The Cavea (bleachers) is heavily degraded and only a very small portion of the bleachers has been rebuilt. The bleachers were distributed along the curve of the amphitheater. The seats closest to the arena were separated by a wall 3 meters high (the podium), the highest seats were located more than 40 meters high. Spectators sat in a hierarchical arrangement that reflected the rigid and stratified nature of Roman society. The emperor was of course at the bottom while the plebs was at the top. The arena is 83m long by 48m wide. The floor was a floor, sometimes replaced by brick on some places. The arena covers a vast underground structure called "hypogeum" (cellars of an ancient building, underground part) that was created after the inauguration, under the emperor Domitian and fits our modern backstage. The hypogeum was divided into 15 corridors made of brick and blocks of tufa, built parallel to a central gallery.
batiment F sector of MENILMONTANT (france)
my inspiration for this album come from my favorite video game (silent hill)
Our local train station. I took this whilst waiting for my granddaughter to arrive for 5 day stay with us. It doesn't seem long ago and I was ferrying her to school etc. and now she is an independent young lady travelling around under her own steam. Where have the years gone! It's lovely that she still wants to spend time with us though so I consider myself very blessed.
As he rounded the corner he came within mere feet of being pulled into the parallel universe. The concept of parallel universes, or a multiverse, intrigue me hugely; both in the sense of their potential and for the total impracticality of proving or disproving the theory. Much in the same way of the likelihood of my head spontaneously combusting in the next thirty seconds ... it didn't. Although it could, if I think about parallel universes a bit too hard. So I don't. That is, not unless I'm wearing my flammable hat. No, I mean my inflammable hat ... Oh. It's all very confusing, eh? I might have a lie down.
New blogs:
Man Ponders Potential Of Own Vagina
nigeollis.com/2014/04/12/man-ponders-potential-of-own-vag...
Publicly Speaking : The Fear
Ever wonder how many tons of ice and snow cover a mountain? Or how thick are the layers of a glacier?
These two goldfinches were perched momentarily on some thistles in my backyard this morning. I liked the way the sunlight warmed them.
There was a steepness in the darkness
I wanted to cut it like a comet crash
Hit the city, where you had echoed from a flash
Made it all seem not so bad
'Cause we were parallel lines running through the whole sky
And even in the low light, we were aligned
'Cause we were parallel lines, separate the whole time
But even in the divide, you and I
Don't dare repeat this
But when I lay alone that night
I let the city see me cry
And in my weakness
I wish you hadn't closed your eyes
Crossed the city, open mine
'Cause we were parallel lines, running through the whole sky
And even in the low light, we were aligned
'Cause we were parallel lines, separate the whole time
But even in the divide, you and I
I watched you comb your hands through the light
Every detail spilled from your outline
All at once you filled my eyes
And I could see it all for the first time
'Cause we were parallel lines running through the whole sky
(The whole sky)
And even in the low light, we were aligned
(We were aligned)
'Cause we were parallel lines, separate the whole time
(Whole time)
And even in the divide, you and I
Attlass
Sydney Light rail tram on the Darling Harbour sector. The cylinder shaped structure crossing the road is a former monorail station.
© Henk Graalman
Strobist info:
Yongnuo 565 lit on floor behind band, pointing up at the wall. Triggered by Yongnuo YN622C.
3237-3642 (The Pig) steam train with 6S41 down "LVR" pass special from Thrilmere to Mailtand parallel with 5033-5028 with a down empty Aurizon coal train at Victoria St Station, East Maitland (17/4/2015).
Part of Bristol Light Festival 2025
Parallels is an immersive installation that uses the precision of lasers and mirrors to transform moving footage into floating abstractions of light. Inspired by movements and tones found in the natural world, Parallels uses footage of natural phenomena to offer a transcendent experience of light and sound. Set to a soundtrack by Max Cooper. Best viewed after dark.
Artist: Architecture Social Club
Temple Church, Bristol
Please do not use my photos without permission. Feel free to contact me if you have a request.
while waiting for the air national guard flyover, took some pics at the cranberry bog. these are pines that have grown so closely together that they only have foliage at the very top.
ODC parallel lines
Decisións paral·leles
Check out the song inspired by this picture:
soundcloud.com/david-clapes/repeticio-agradable
By David Clapés
Central Island - O'Connell Street - Dublin - Ireland
So far I can't find much on the net regarding the phenomenon of synchronisation in human locomotion. It seems that when people like each other and/or feel relaxed in each other's company they tend to synchronise in various ways. I came across this again and again at slow shutter speeds during this Dublin city centre photoshoot.