View allAll Photos Tagged Parallel
high altitude ice clouds,beautiful large white whispy cover sky,same weather conditions that cause severe long term drought also cause these clouds,we had them all summer in Texas,the hottest dryest year on record,six months later nothing has changed,weather modelers predict no rain for the entire year,water supplies are critically low,some small communities are already out of water,those people have to move,but to where?,when the big cities run out we will have a crisis of epic porportions,the government is still lying to us saying "we've" got plenty of water,even as people watch our lakes reveal their bottoms,a warning would help people prepare,millions will have to leave the state which will be dangerous if large numbers try to leave at once,danger of people dying in their cars as the journey to water is 800-1000 miles
In 1954, a young Princeton University doctoral candidate named Hugh Everett III came up with a radical idea: That there exist parallel universes, exactly like our -universe. These universes are all related to ours; indeed, they branch off from ours, and our universe is branched off of others. Within these parallel universes, our wars have had different outcomes than the ones we know. Species that are extinct in our universe have evolved and adapted in others. In other universes, we humans may have become extinct.
This thought boggles the mind and yet, it is still comprehensible. Notions of parallel universes or dimensions that resemble our own have appeared in works of science fiction and have been used as explanations for metaphysics. But why would a young up-and-coming physicist possibly risk his future career by posing a theory about parallel universes?
With his Many-Worlds theory, Everett was attempting to answer a rather sticky question related to quantum physics: Why does quantum matter behave erratically? The quantum level is the smallest one science has detected so far. The study of quantum physics began in 1900, when the physicist Max Planck first introduced the concept to the scientific world. Planck's study of radiation yielded some unusual findings that contradicted classical physical laws. These findings suggested that there are other laws at work in the universe, operating on a deeper level than the one we know.
Source How Stuff Works
Artist: Antony Gormley
Title: Parallel Field
Materials: castings in iron
Sculpture in the City 2013
30 St Mary Axe
London, England, UK
Osprey Dad washes his talons after bringing a fish to the nest for his mate and kid(s).
Osprey
Pandion haliaetus
Belle Haven Marina, Alexandria, Virginia
This week's brief was good for me as I was just experimenting with Intentional Camera Movement.... so I thought I would go out and try it on some groups of people. The images (there were a few but I have only posted 2 on my Flickr page) are a SINGLE EXPOSURE and NOT changed in the digital darkroom, other than some added contrast and saturation.... I am happy with them, as they are not just blurs but rather a series of 'parallel images' captured as I panned across the group. The images capture one of my ideas about photography which is that our lives are a sort of ongoing 'movie' within which the photographer has to choose the best still frame at a specific moment. These images encompass a few of those moments... if you look carefully you will see some people moving positions.
The Pittock Mansion was home to Portland pioneers Henry and Georgiana Pittock from 1914 to 1919. During the late 1800s and the early 1900s, their lives and work paralleled the growth of Portland from a small Northwest town site to a thriving city with a quarter million population. With its eclectic architectural design and richly decorated interior, including family artifacts, the Pittock Mansion stands today as a living memorial of this family’s contributions to the blossoming of Portland and its people.
English-born Henry Lewis Pittock journeyed on a wagon train from Pennsylvania to Oregon in 1853 where, at the young age of 19, and in his own words, “barefoot and penniless,” he began working for Thomas Jefferson Dryer’s Weekly Oregonian newspaper. In 1860, at the age of 26, he married 15-year-old Georgiana Martin Burton of Missouri. Six years prior, Georgiana had crossed the plains from Keokuk, Iowa to Oregon Territory with her parents. Georgiana’s father E.M. Burton was a flour mill owner and one of early Portland’s well known building contractors.
Together, Henry and Georgiana began a long life of work, community service, and devotion to family, which would last 58 years and celebrate six children and eighteen grandchildren.
A consummate businessman, Henry Pittock took ownership of the Weekly Oregonian in 1860, changing its format to the daily paper we read today. He went on to build an empire incorporating real estate, banking, railroads, steamboats, sheep ranching, silver mining, and the pulp and paper industry.
Georgiana dedicated herself to improving the lives of the community’s women and children. She helped found the Ladies Relief Society in 1867, whose Children’s Home provided care, food, and shelter for needy children. Georgiana also worked with the Woman’s Union, and played a key role in building the Martha Washington Home for single, working women.
The couple was known for their quiet reserve, helpful demeanor, and love for the outdoors. Georgiana cherished gardening, and kept a terraced flower garden at the mansion covered with every kind of flower imaginable. She frequently adorned her house with cut flowers, and is recognized for originating the tradition of Portland’s annual Rose Festival.
A vigorous outdoorsman, Henry rode horses in the Rose Festival parades, and was a member of the first party to climb Mt. Hood, one of the spectacular peaks visible from the mansion. On one of his climbing expeditions, someone suggested that the group sit down and rest, at which point Henry responded, “The man who sits down never reaches the top.”
Henry and Georgiana were at the pinnacle of their successful lives when they commissioned architect Edward Foulkes to design and build their new home overlooking Portland, the city they loved.
They began planning and designing their new home in 1909. The mansion was completed in 1914, replete with stunningly progressive features including a central vacuum system, intercoms, and indirect lighting. The house also creatively incorporated Turkish, English, and French designs. In keeping with their loyalty to their home state, the Pittocks hired Oregon craftsmen and artisans, and used Northwest materials to build the house. The final estate included the mansion, a three-car garage, a greenhouse, and the Italianate gate lodge servants’ residence, all situated on 46 acres of land almost 1,000 feet above downtown Portland.
At 80 and 68 respectively, Henry and Georgiana moved to their new home. The hard-working couple who had lived in the heart of Portland as it developed from a forest clearing to a bustling business center, now resided high in the hills, with a breathtaking vista of their beloved Portland. It was a warm and gracious house for both the adults and children of the family.
Georgiana died in 1918 at the age of 72, and Henry in 1919 at 84. The Pittock family remained in residence at the mansion until 1958, when Peter Gantenbein, a Pittock grandson who had been born in the house, put the estate on the market.
The threat of demolition at the hands of land developers, and the extensive damage caused by a storm in 1962, brought concerned citizens together to raise funds to preserve the site. Seeing this popular support, and agreeing that the house had tremendous value as a unique historic resource, the City of Portland purchased the estate in 1964 for $225,000. Fifteen months were spent restoring it. The mansion opened to the public in 1965, and has been a community landmark ever since.
A house of historical significance and visual magnificence, the Pittock Mansion today offers us a uniquely personal opportunity to peek into the past, and study our world as it was - from the viewpoint of one Portland family
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It was a good day for quantum physics, on the beach at Golden Gardens Park in Seattle.
(Actually, Michael and I were just playing around with the Panorama function on my Sony NEX-3.)
Very poor quality, but this was a dream come true. Doing a parallel approach into LAX with what in my opinion is the most beautiful airline livery in the world.
A short geography lesson.
The 42nd parallel passes through Essex County, Ontario, Canada as well as northern California, the French Riviera and Rome.
The county is flat as a pancake.
À travers près de 350 œuvres dont de nombreux chefs-d’œuvre des artistes qui lui furent proches (Joan Miró, André Masson, Alberto Giacometti, Pablo Picasso, Wifredo Lam, Francis Bacon…), des objets et oeuvres d'art africains et antillais, ainsi qu’un riche corpus d’archives et documents originaux (manuscrits, livres, films et musique), il s’agit non seulement de rendre compte des multiples facettes de la figure de Leiris, de ses passions et de ses engagements, mais également de souligner le caractère novateur de son œuvre et la pertinence de sa pensée : Michel Leiris est devenu, dans le contexte de la mondialisation et des études postcoloniales, une référence contemporaine essentielle.
Influencé dès l’enfance par Raymond Roussel et se situant en marge du surréalisme, Leiris s’éloigne du mouvement pour rejoindre la revue dissidente Documents autour de Georges Bataille. La quête de sa propre identité s’associe à une soif de dépaysements et d’altérité. Il s’initie aux méthodes de la recherche ethnographique en participant, en tant qu’archiviste, à la première mission ethnographique française en Afrique, conduite par Marcel Griaule : la « mission Dakar-Djibouti » (1931-1933), au cours de laquelle il écrit L’Afrique fantôme, hybride de journal de terrain et de récit autobiographique. Après la guerre, il se rend aux Antilles en compagnie d’Alfred Métraux, qui lui fait découvrir les rites vaudou. Aficionado de corrida, il est tout autant passionné de jazz, d’opéra et de spectacle, qui sont pour lui des « terrains de vérité ». Devenu ethnographe professionnel, africaniste au Musée de l’Homme, il est à l’initiative du premier ouvrage sur la Création plastique de l’Afrique noire.
Son œuvre littéraire compte parmi les plus novateurs du siècle dernier : auteur de L’Âge d’homme et des quatre volumes de La Règle du Jeu, Michel Leiris a révolutionné le genre de l’autobiographie.
Poète explorateur passionné des jeux de langage, il revendique aussi pour la littérature une esthétique du risque (« De la littérature considérée comme une tauromachie »). Engagé dès les premières heures dans la lutte anticoloniale et antiraciste, devenu homme public et militant, il reste avant tout écrivain solitaire. Michel Leiris est inclassable : figure libre éminemment complexe et paradoxale, sa modernité s’impose aujourd’hui encore plus qu’hier.
(Source : www.centrepompidou-metz.fr/leiris-co-picasso-masson-mir-g...)
5. L’AFRIQUE FANTÔME
Leiris participe, comme secrétaire-archiviste, à la mission Dakar-Djibouti (1931-33), conduite par Marcel Griaule, une des premières grandes missions ethnographiques françaises, destinée à rapporter des « documents » sur les cultures africaines et à enrichir les collections d’objets du musée d’ethnographie du Trocadéro. Il se familiarise avec les méthodes de l’enquête : carnets de route, fiches, inventaires dont, devenu autobiographe, il reprendra la pratique. En parallèle de cet apprentissage, il écrit L’Afrique fantôme, journal de terrain et journal intime. Il note tout : ses exaltations, ses désillusions, ses entraves d’Européen, ses rêves, le menu quotidien. Il livre les faits : les ambiguïtés du travail scientifique de la mission, les dérapages de la colonisation, les pratiques prédatrices et sacrilèges de l’équipe, l’impossible communication avec l’autre, l’indigène. Il fait le constat d’une Afrique « fantôme », impénétrable, revendique une totale subjectivité pour atteindre l’objectivité : L’Afrique fantôme, dès sa publication en 1934, ne manque pas de choquer la communauté des ethnologues, mais confère à Leiris le statut d’écrivain. Avant l’ethnologue qui étudiera la théâtralité des rites et des fêtes, c’est le poète en quête de sacré et de secret qui, pendant la mission, est sur le terrain.
JUIN-DÉCEMBRE 1931, EN PAYS BAMBARA ET DOGON
Tout en participant au « butin » de la mission, l’apprenti ethnologue qu’est Leiris enquête sur les sociétés d’enfants, les rites de circoncision et d’initiation, les fêtes funéraires (danses des masques) et la langue secrète de la société des hommes.
JUILLET-DÉCEMBRE 1932
S’il prend part au sauvetage des peintures des églises de Gondar et à la récolte des manuscrits et rouleaux magiques, Leiris étudie avec passion, avec l’aide de son informateur Abba Jérôme, les rites de possession (sacrifices, transes, chants, poèmes) par les génies zar dans une société d’adeptes femmes regroupées autour de la guérisseuse Malkam Ayyahou.
(Source : www.centrepompidou-metz.fr/leiris-co-picasso-masson-mir-g...)
This is for requirement #2 No vertical vanishing point. I used these settings: f22 1/15 ISO100. I used the aperture f22 because I wanted everything to be sharp. I used the shutter speed 1/15 in order to properly expose the photo. I didn't need to do much in Photoshop but I did want to lighten the shadows and brighten the highlights so I adjusted the curves, exposure, and brought out the highlights.
This was by far the most fun I have ever had taking pictures at a wedding. I have known the groom and his best man for about 7 years. The girl on the far left plays 7 sports and it shows, the little guy did pretty good too.
I love these fish. In an evolutionary adaptation somewhat paralleling the first proto-amphibian's step on land in Devonian, they venture several meters away from teh waterline, into the mangrove forest's mud and roots.
In Onna-son, on the West coast of Okinawa, there is a spot where they are not shy at all and I could approach them closely enough to get nice macro shots.
Had my camera hanging from the neckstrap secured by a fanny pack in front of me while riding my bike. I was watching this egret, and took a photo from a distance, then biked past it... it decided it had enough, and started to take off, I managed to get some snapshots. Mr. Bird wasn't really in focus, but the ripples were, and looked like a good fit for the "Parallel Lines" weekly assignment, so here it is :D
Post-processing: Cropped to square. Kept the vignetting on the left, which came from edge of the UV filter on the lens... it becomes more apparent past 150mm, and I had this at 170mm. I kinda like the effect.
Playing with hipstamatic while in Manchester for the International Festival. Taken for the Leeds Flickr Group Theme of the Week - Parallel.
Dennis Eagle customers and prospects take a close look at the HybriDrive(R) parallel system that has recently been installed on one of their refuse vehicles.
Bei Stańczyki (Staatshausen) überspannen zwei parallele Eisenbahnbrücken ein breites Tal, in dessen Mitte der kleine Fluss Błędzianka (Blinde) fließt. Die südliche Brücke wurde 1912 bis 1914 errichtet (ergänzt 1917), die nördliche 1918. Die Planung für das einem römischen Aquädukt ähnelnde Bauwerk stammt aus dem Jahr 1908. Während des Ersten Weltkrieges (1916) entstand ein Projekt zur Errichtung einer dritten Magistrale von Westpreußen über Ostpreußen nach Litauen. Im Frühjahr 1917 begannen die Bauarbeiten an Bahndämmen, Brücken und Viadukten, die für das zweite Gleis vorgesehen waren. Bis Ende des Krieges wurden die Arbeiten nicht beendet.
Nach Kriegsende hatte das sehr ehrgeizige Projekt seinen Sinn verloren, da die Polen und Litauen eine Abgrenzungspolitik gegen Deutschland führten. In den 1920er Jahren wurde beschlossen, die Eisenbahnlinie eingleisig fertigzustellen. Die Einweihung der von Goldap über Szittkehmen nach Gumbinnen führenden Eisenbahnstrecke fand am 1. Oktober 1927 statt, sie verlief allerdings nur über die südliche Brücke.
Aus nicht bekannten Gründen wurde nach einigen Jahren das Gleis auf die nördliche Brücke verlegt. Das Personenaufkommen war relativ groß, weil das Gebiet ein beliebtes Ausflugsziel für die Bewohner von Goldap, Gumbinnen und anderen Städten war. Im Sommer waren es vor allem Pilzsammler und Angler, im Winter Skiläufer. Nach 1941 erhöhte sich die Bedeutung der Strecke noch mehr, um Baumaterial für die Wolfsschanze zu befördern. Dieses wurde aus der Gegend von Bachanowo über diese Strecke nach Görlitz transportiert.
1945 wurde die gesamte Strecke von der Sowjetunion demontiert.
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