View allAll Photos Tagged Pulsating
Em Positano, na Costa Amalfitana, uma rua estreita pulsa com a energia dos turistas que exploram a vila. O aglomerado urbano, com raízes medievais, desafia a gravidade com casas coloridas em cascata pela encosta, uma imagem icónica da região. Esta adaptação engenhosa ao terreno escarpado dos Montes Lattari resultou num labirinto de passagens e escadarias, substituindo as ruas convencionais e criando um ambiente singular. As lojas de artesanato local e de "Moda Positano", um estilo de linho e algodão popularizado nos anos 60, animam o percurso. A vila, que acolhe mais de um milhão de visitantes anualmente, testemunha a pressão turística sobre a sua população residente de apenas quatro mil habitantes, mas continua a atrair viajantes de todo o mundo, seduzidos pela paisagem costeira e pela arquitetura mediterrânica, desde que se tornou popular após a Segunda Guerra Mundial.
>In Positano, on the Amalfi Coast, a narrow street pulsates with the energy of tourists exploring the village. The urban cluster, with medieval roots, defies gravity with colorful houses cascading down the hillside, an iconic image of the region. This ingenious adaptation to the rugged terrain of the Lattari Mountains has resulted in a maze of passageways and stairways, replacing conventional streets and creating a unique atmosphere. Shops selling local crafts and “Moda Positano,” a style of linen and cotton popularized in the 1960s, enliven the route. The village, which welcomes over a million visitors annually, bears witness to the tourist pressure on its resident population of just four thousand, but continues to attract travelers from all over the world, seduced by the coastal landscape and Mediterranean architecture, since it became popular after World War II.
Giovan Battista Moroni (Albino, 1520/1524 – 5 febbraio 1578/1579) - Il Cavaliere nero (1567 circa) - olio su tela 190 x 102 cm. - Museo Poldi Pezzoli, Milano
Giovan Battista Moroni (Albino, 1520/1524 - February 5, 1578/1579) - Il Cavaliere nero (1567 circa) - oil on canvas 190 x 102 cm. - Poldi Pezzoli Museum, Milan
Il dipinto, tra i più celebri ritratti a figura intera eseguiti da Giovanni Battista Moroni, è giunto al Museo Poldi Pezzoli nel 2004. Fino agli anni cinquanta del Novecento si trovava nella famosa collezione dei conti Moroni di Bergamo, i quali nel corso dei secoli avevano riunito un consistente nucleo di importanti opere dell’omonimo artista (nei confronti del quale vantavano un presunto legame famigliare), in gran parte ancora conservato presso di loro. Rappresentato a grandezza naturale, il Cavaliere in nero si staglia contro uno sfondo grigio, in cui si distinguono soltanto alcuni elementi architettonici, una cornice marcapiano su cui poggiano le basi di due grandi lesene. L’elegantissimo abito scuro, da cui trae origine il titolo del quadro, è dipinto con straordinaria finezza, in particolare nelle pieghe del panneggio e nei delicati passaggi di luce e ombra che ne animano e quasi fanno palpitare la superficie. Il volto, raffigurato di tre quarti e colpito in pieno dalla luce, emerge dallo stretto colletto del vestito, al di sopra del bordo increspato della camicia bianca. Gli occhi sono puntati con intensità verso lo spettatore, mentre le mani dal candido incarnato, che stringono l’impugnatura della spada e un bordo del corto mantello, risaltano con grande evidenza sul tessuto nero. Il Cavaliere in nero appartiene a pieno diritto alla serie dei più bei ritratti a figura intera eseguiti da Giovanni Battista Moroni. Il dipinto è databile verso il 1567, nell’ultimo periodo di attività di Moroni, in cui l’impianto pittorico, basato sui toni del nero e del grigio, si semplifica progressivamente e l’indagine della realtà diviene più penetrante e acuta. L’identità del misterioso personaggio, che mostra un’età apparente di circa 25-30 anni e sul cui volto aleggia un sorriso enigmatico, è destinata, almeno per ora, a rimanere sconosciuta.
The painting, one of the most famous full-length portraits by Giovanni Battista Moroni, arrived at the Poldi Pezzoli Museum in 2004. Until the 1950s it was in the famous collection of the Counts Moroni of Bergamo, who over the centuries had assembled a substantial nucleus of important works by the artist of the same name (to whom they boasted an alleged family connection), most of which are still conserved with them. Represented life-size, the Knight in black stands out against a gray background, in which only a few architectural elements can be distinguished, a string-course frame on which rest the bases of two large pilasters. The very elegant dark dress, from which the title of the painting derives, is painted with extraordinary finesse, particularly in the folds of the drapery and in the delicate passages of light and shadow that animate and almost make the surface pulsate. The face, depicted in three-quarter view and struck in full by the light, emerges from the narrow collar of the dress, above the ruffled edge of the white shirt. The eyes are intensely focused on the viewer, while the hands with their white complexion, which clasp the hilt of the sword and one edge of the short cloak, stand out clearly against the black fabric. The Knight in Black rightfully belongs to the series of the most beautiful full-length portraits by Giovanni Battista Moroni. The painting can be dated around 1567, in the last period of Moroni's activity, in which the pictorial structure, based on the tones of black and gray, is progressively simplified and the investigation of reality becomes more penetrating and acute. The identity of the mysterious character, who appears to be about 25-30 years old and whose face hovers an enigmatic smile, is destined, at least for now, to remain unknown.
the rising sun over meikleholm, taken through a hoya pulsator filter. langholm, dumfriesshire, scotland.
This image was taken on my last evening in Singapore and, given all the club anthems and remixes I was listening to at the time, I came up with the title that you see above. With all its dazzling and sparkling lights combined with the thumping beats and rhythms pulsating through my brain at the time, it really did feel like the city was one gigantic dance club. Singapore is renowned for exactly this, by the way -- posh nightclubs, discotheques, talented DJs -- in addition to the delicious cuisine and immaculate streets. I will opine from one fun experience that this is very, very true!
TIA SINGAPORE (DAY) / TIA SINGAPORE (NIGHT)
PROJECT "2014 : 365" / TIA INTERNATIONAL PHOTOGRAPHY / TIA Facebook / TIA Twitter / TIA Blogger
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Poem.
A silhouetted, rapier-like peninsula piercing the radiant splendour of a pewter-grey sea.
Domed islands capped by the heavenly spokes of a setting-sun.
Timeless beauty.
Silence, but for the distant scream of a gull and the gentle, pulsating whistle of an oyster-catcher.
Sky, rock, sand, light and sea uniquely combine
to produce a glimpse inside heaven’s door.
Don’t yearn for heaven.
Look around.
It’s already here!
Poem.
A silhouetted, rapier-like peninsula piercing the radiant splendour of a pewter-grey sea.
Domed islands capped by the heavenly spokes of a setting-sun.
Timeless beauty.
Silence, but for the distant scream of a gull and the gentle, pulsating whistle of an oyster-catcher.
Sky, rock, sand, light and sea uniquely combine
to produce a glimpse inside heaven’s door.
Don’t yearn for heaven.
Look around.
It’s already here!
Koutoubia Mosque and Jemaa El Fna - Marrakech, Morocco.
The heart of Marrakech pulsates most feverishly at night in its main square, Jemaa El Fna. Just before sundown, the market stalls start preparations for a long night of dining, shopping and gawking. Not only the sight, but the cacophony of sounds and the various aroma emanating from this location are truly overwhelming - in my opinion, one of the best experience one can ever have from exotic Morocco.
Copyright 2013 - Yen Baet - All Rights Reserved.
DO NOT USE ANY OF MY IMAGES WITHOUT PERMISSION.
Use in websites, blogs or any other media, printing, manipulating and reproducing any of my photos without proper consent is strictly forbidden.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Done in Ai, Finalized in Photoshop
Inspired by and Reimagined
Emerging from the haunted thickets of an ancient, bewitched forest, the Ember Veil Enchantress commands the raw currents of forbidden magic. Her crimson hair billows like wildfire through fog-drenched air, a fiery contrast to the obsidian ritual cloak etched with ancient sigils. Amethyst runes flicker across her arms and robes, revealing traces of powerful enchantments woven directly into her flesh.
Adorned in sacred bone totems, blackened silver, and occult emblems, she is the embodiment of a forgotten order—both feared and revered. A pulsating sphere of violet energy swirls in her outstretched hand, casting flashes of arcane lightning through the gnarled forest. Her eyes pierce the veil between realms, reading fate and bending it to her will.
via modemworld.me/2016/11/29/ashemi-oriental-neon-in-second-l...
Ashemi, Azure Star (122, 101, 27) - Moderate
Chill out in a colourful garden, situated right in the middle of the pulsating city. Many peaceful spots to enjoy and relax with friends. City, garden, colours, gallery, flowers, asian, lights, chill, romantic, love, pictures, photo, landscape, art
Part three of my images concerning architect Tadao Ando's Water Temple (Mizumido) on Awaji island.
"...Contrary to the monochromatic approach through the white walls and neutral concrete stair, the interior of the temple is saturated with color. The circular space is filled with an intense red-orange light which seems to be pulsating from its core, the inner most and most sacred space of the temple which houses the Buddha statue."
A spectacular inner sanctum. I have no image of the most sacred 'core' to share - I'll leave that to your own speculation, or discovery.
Quoted text from www.galinsky.com
Somewhat interestingly (in opposition to the majority of my uploads), this is almost completely 'vanilla' (I only used a dab of HDR/tone-mapping to bring out some of the textures of the floor).
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite , calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace,
serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it
and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite, calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace, serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it
and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
Unveil the Wamidee Chair: A Throne for the Unsettled Souls
As the veil between worlds grows thin, an eerie energy stirs within your dwelling. Could it be the echoes of the forgotten, or simply a trick of the shadows? No. This spectral presence emanates from something tangible, a masterful creation cloaked in mystery and allure: the Wamidee Chair by Sources.
This isn’t just a chair—it’s an invocation. A spellbinding piece of art that seems to pulsate with life, its intricate details whispering secrets only the brave dare to uncover. Imagine settling into this throne-like masterpiece, its smooth curves and textured finish inviting you into a cocoon of haunting comfort. The Wamidee Chair is not just furniture; it’s a gateway, a keeper of stories, a statement to the curious that your home is no ordinary sanctuary.
Crafted with Sources’ renowned precision, the chair exudes an unearthly charm. It’s a blend of form and enigma, where luxurious design meets the supernatural. The muted yet rich tones ensure it commands attention without screaming for it—a silent, elegant siren luring guests into its mysterious embrace.
Dare to make the Wamidee Chair yours? Perfect for an eerie study, a dim-lit corner, or as a centerpiece for your midnight musings, this hauntingly beautiful piece invites you to sit... if you dare. But be warned: once seated, you may never wish to rise again.
Sink into its otherworldly depths and embrace the unknown. The Wamidee Chair awaits you at the Progeny Mall, available for the November round. Your throne of the uncanny is ready—will you claim it?
The universe is getting bigger every second. The space between galaxies is stretching, like dough rising in the oven. But how fast is the universe expanding? As Hubble and other telescopes seek to answer this question, they have run into an intriguing difference between what scientists predict and what they observe.
This is a ground-based telescope's view of the Large Magellanic Cloud, a satellite galaxy of our Milky Way. The inset image, taken by the Hubble Space Telescope, reveals one of many star clusters scattered throughout the dwarf galaxy. The cluster members include a special class of pulsating star called a Cepheid variable, which brightens and dims at a predictable rate that corresponds to its intrinsic brightness. Once astronomers determine that value, they can measure the light from these stars to calculate an accurate distance to the galaxy. When the new Hubble observations are correlated with an independent distance measurement technique to the Large Magellanic Cloud (using straightforward trigonometry), the researchers were able to strengthen the foundation of the so-called "cosmic distance ladder." This "fine-tuning" has significantly improved the accuracy of the rate at which the universe is expanding, called the Hubble constant.
Credit: NASA, ESA, A. Riess (STScI/JHU) and Palomar Digitized Sky Survey
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Follow us on Twitter
Like us on Facebook
Find us on Instagram
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
"Wonderful, electric...
I'm in love... I'm in love with a strict machine."
- Goldfrapp, "Strict Machine"
The air is thick, the beat a relentless pulse against the skin. In the deep red glow, there's no room for hesitation only precision, control, and a current of pure electricity.
This is the aesthetic of absolute command. A form encased in polished latex, adorned on a sultry platform. A movement spawned by the Glorious AEONE Sophia Collection now available at the Warehouse August 2025 Round.
— C R E D I T S —
▸ Latex Tights and Shoes: AEONE - Sophia Collection
▸ Gloves: KLN SZN - Long Latex Gloves (Legacy Male)
▸ Corset: Malefic - Ya Ya Corset
▸ Props: Kindex - Cezar Capsir and Nico Whip
▸ Backdrop: The Bearded Guy - Red Night Backdrop
Spooky cute and rebated during the Once Upon a Nightmare-Hunt:
3 sets of ghosts
Linen: White, non scripted, 3 versions included
Disco: 3 versions of pulsating colourful glow
and a set of four pulsating glowing uni colours
All ghosties are modifiable (resize-, stretch- and tintable, the scripts are no mod))
LI ~1-2, depending on size
at the mainstore, 100 % original mesh
Poem.
Golden Cherry,
Yellow Larch.
Orange Birch.
Bronze Ferns.
Upright, bottle-green Spruce.
Stately, cone-laden, Scots Pine.
Bushes of Gorse and Broom.
Rock-faces.
Hills.
Mosses.
Algae.
Fungi.
And a mist “melting” into an Autumnal sky.
Forests can be sterile,
too uniform.
Not here.
A lavish, richly painted canvas.
Atmospheric.
With an ambience of pulsating,
multi-coloured, vibrant life.
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite, calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly to Salmon and Trout.
From Red Deer and Golden Eagle to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace, serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
Edited Hubble Space Telescope image of the spiral galaxy NGC 105.
Original caption: This image from the NASA/ESA Hubble Space Telescope captures the spiral galaxy NGC 105, which lies roughly 215 million light-years away in the constellation Pisces. While it looks like NGC 105 is plunging edge-on into a collision with a neighbouring galaxy, this is just the result of the chance alignment of the two objects in the night sky. NGC 105’s elongated neighbour is actually far more distant and remains relatively unknown to astronomers. These misleading conjunctions occur frequently in astronomy — for example, the stars in constellations are at vastly different distances from Earth, and only appear to form patterns thanks to the chance alignment of their component stars. The Wide Field Camera 3 observations in this image are from a vast collection of Hubble measurements examining nearby galaxies which contain two fascinating astronomical phenomena — Cepheid variables and cataclysmic supernova explosions. Whilst these two phenomena may appear to be unrelated — one is a peculiar class of pulsating stars and the other is the explosion caused by the catastrophic final throes of a massive star’s life — they are both used by astronomers for a very particular purpose: measuring the vast distances to astronomical objects. Both Cepheids and supernovae have very predictable luminosities, meaning that astronomers can tell precisely how bright they are. By measuring how bright they appear when observed from Earth, these “standard candles” can provide reliable distance measurements. NGC 105 contains both supernovae and Cepheid variables, giving astronomers a valuable opportunity to calibrate the two distance measurement techniques against one another. Astronomers recently carefully analysed the distances to a sample of galaxies including NGC 105 to measure how fast the Universe is expanding — a value known as the Hubble constant. Their results don’t agree with the predictions of the most widely-accepted cosmological model, and their analysis shows that there is only a 1-in-a-million chance that this discrepancy was caused by measurement errors. This discrepancy between galaxy measurements and cosmological predictions has been a long-standing source of consternation for astronomers, and these recent findings provide persuasive new evidence that something is either wrong or lacking in our standard model of cosmology.
High clouds and no fog are a rare combination this time of year along the California coastline. I noticed a thick cloud front approaching the Santa Cruz coast in the afternoon and I figured it would likely burn at sunset. I decided to head to Hole-in-the-Wall beach where I had a few other comps in mind that I had wanted to shoot.
With 6ft. tides, the waves came up upon the rocks farther than I have ever seen. I had to race between dry rock spots to avoid the water. Eventually I made it to this rock staircase ledge where I wanted to capture the water cascading down while side lit with glowing warm light. It was rather tricky getting the right wave and the right timing for the cascade. Most of the time there was too much water rushing over the ledge and it created a giant white smear. After staring at the waves motions for some time I managed to get my timing down to get the cascade as the water flow was on the wane.
Just as I had my timing figured out the sky began glowing in the east and south with bubbly textures. Soon enough the entire sky was enveloped in burning colors as the ocean was churning in full force.
Sony A7r
EF 16-35mm f/2.8L II
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite , calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace,
serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it
and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
Bradford, Pennsylvania is home not just to Zippo lighters and Case knives but also to a commitment to the craft and quality. Visit the Zippo/Case Museum, where fans and collectors from across the globe gather to experience the rich history of these two American icons.
Come explore the 15,000 square foot attraction that includes the world famous Zippo Repair Clinic and Zippo/Case Store. Fourteen custom-made Zippo street lighters line the drive leading up to the building. Over the entrance towers a 40-foot Zippo lighter with pulsating neon flame, and an enormous Case Canoe three bladed pocketknife. Enjoy a self-guided tour to learn the rich history of two American icons.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
...against War and Fascism (detail)
In 1988, 50 years after the occupation and annexation of Austria by Nazi-Germany, the City of Vienna erected this heart-rending and deeply moving monument to say: "Never again!"
The artist was Alfred Hrdlicka, perhaps Austria's most gifted sculptor of the 20th Century - a man who was able to turn stone into pulsating flesh and blood - and a life-long anti-fascist.
Captured with the PENTAX K-3iii Monochrome. All processing (with the exception of the tiniest itsy-bitsy tweak to the gradation curve) done with the excellent tools provided in the camera.
SMC Pentax-DA 40mm f:2.8 Limited
Bradford, Pennsylvania is home not just to Zippo lighters and Case knives but also to a commitment to the craft and quality. Visit the Zippo/Case Museum, where fans and collectors from across the globe gather to experience the rich history of these two American icons.
Come explore the 15,000 square foot attraction that includes the world famous Zippo Repair Clinic and Zippo/Case Store. Fourteen custom-made Zippo street lighters line the drive leading up to the building. Over the entrance towers a 40-foot Zippo lighter with pulsating neon flame, and an enormous Case Canoe three bladed pocketknife. Enjoy a self-guided tour to learn the rich history of two American icons.
Ripley's Aquarium of Canada
en.wikipedia.org/wiki/Jellyfish
Jellyfish or jellies[1] are the major non-polyp form of individuals of the phylum Cnidaria. They are typified as free-swimming marine animals consisting of a gelatinous umbrella-shaped bell and trailing tentacles. The bell can pulsate for locomotion, while stinging tentacles can be used to capture prey.
Jellyfish are found in every ocean, from the surface to the deep sea. Scyphozoans are exclusively marine, but some hydrozoans live in freshwater. Large, often colorful, jellyfish are common in coastal zones worldwide. Jellyfish have roamed the seas for at least 500 million years,[2] and possibly 700 million years or more, making them the oldest multi-organ animal
Pacific sea nettle
view large to get a headache
the light that did manage to percolate through the thick canopy of foliage was so fierce it was almost painful-so i wanted to replicate the throbbing visual sensation i experienced.
New for Fantasy Faire
Mantis antennas with texture HUD (five colours) and a subtle pulsating glow.
Non-rigged and fully modifiable - men can use them, too!
100 % original mesh
Described as “a savage beauty” by Oscar Wilde, Connemara is rural Ireland at its most dramatic. Kari Kola’s installation of 1,000 lights spread over a distance of 5 kilometres, transforming the mountains in a wash of vibrant pulsating colours.
Galway 2020 European Capital of Culture presented Savage Beauty. The artwork transformed Ireland’s Connemara mountains with colour and light in the largest site-specific light artwork ever created.
New release at @abnormality.is Event!
Mood crystal with pulsating glow and add-ons that represents friendship and affection 💛
Take one here!
The sound only increased as Arthur moved closer to the vault. A piercing ringing that stabbed into his mind.
Trying to remain focused he calmly placed two fingers on both of his temples. At least trying to massage his head in a vain attempt to soothe the pain.
He sighed in frustration, the pain only subsiding briefly. He continued pacing down the stairs that spiralled through the tower. The pale light emitting from the ornately decorated lamps that were affixed to the walls, guiding him deeper down.
At last he reached the large circular doorway that was the entrance to the vault. A heavy, solid metal door, copper in colour. Engraved with strange symbols and patterns.
Arthur hurriedly pulled out the key from his pocket, sliding it into the lock. He twisted it around, as he did he could feel the clicking and whirring of the locks reverberating through the door.
The heavy door groaned as it began to open, the triangular segments that formed the door retracting into the walls.
He stepped forward, approaching the smaller, secondary wall. For this one however, there was no key. Arthur merely raised his hand up towards the door.
'Open' he commanded.
The door clicked and opened inwards, allowing Arthur into the vault.
As the lights began to flicker on, the contents of the vault were revealed. It was a large circular room with a grated metal walkway circling around the entirety of the vault. Each of the walls featured a tall arched alcove that contained shelves filled with strange metallic objects, glowing stones and crystals, mechanical devices and other oddities. In some of the alcoves bizarre weapons hung on display, in others hung tapestries, scrolls, books, suits of armour, helmets and even taxidermied heads of strange and unusual creatures.
'Incredible that I've even been able to store all this' Arthur mused to himself, looking around the vault.
His eyes turned to an alcove on the far side of the vault, there were no shelves there. Only a large glass tank that glowed and pulsated with a sickly green liquid. Large tubes snaked from the top of the tank, pumping nutrients to what lurked within.
Though the tank itself was fogged with a faint mist, Arthur could see the silhouette of the entity within, a large, bearish sized bulk.
Though he could not see it's eyes, he knew it was watching him.
'Another time' he muttered.
He made his way towards the spiral staircase nearby. Which took him down to the lower level of the vault. Large wooden crates were stacked and piled here and there. Though the lighting illuminated the various other objects around the area. Stone carvings and statues, as well as an ancient obelisk from Egypt. A worn suit of the royal guard and a strange, metal machine that looked like an oversized pepper pot.
Arthur however turned his attention to the golden mask that sat on a nearby pedestal, as he did the noise in his head returned.
'This is a first' he said, walking over to the mask.
'You've never been one to cause a commotion, not since Orkney' He added.
'Something is wrong' The mask cried, glowing rapidly.
'What is it?' Arthur asked.
'Someone is reaching out!' The mask cried.
Worriedly, Arthur moved over to the pedestal.
'It's alright, just talk to me' Arthur said calmly.
'How? How is this possible?' the mask cried, panicking further.
'What is it? Tell me' Arthur replied.
'I have to show you!' the mask cried. As it did it leapt forward from the pedestal, rotating around and placing itself on Arthur's face.
A surge of energy burned through Arthur, he staggered back as he frantically tried to take the mask off.
'You have to see!' The mask said, reverberating through Arthur's mind.
As it spoke Arthur's surroundings shifted and warped, the room span in a dizzying blur. Before changing into an unfamiliar location.
The room Arthur was in was dark, tall columns ascended into nothingness. In the centre of the room stood a large, metallic dome like structure. Circular patterns engraved onto each section. Glowing with a pale blue light.
Standing next to the structure was a humanoid figure.
'Hello?' Arthur called out.
The figure moved slightly, suddenly aware of Arthur's presence. It turned towards him.
The figure was slightly hunched in appearance, wearing some sort of decorative robe. In it's right hand it held a staff that it seemed to use like a walking stick. On top of the staff was a glowing orange light that illuminated the features of the humanoid.
Arthur looked in confusion.
The figure was mechanical, wearing a curved orange mask that had an narrow elongated lower section that Arthur assumed to be it's mouth.
What surprised Arthur were it's eyes, though this appeared to be a machine, it's eyes glowed with emotion, wisdom and warmth. Like that of a wise elder.
'Ah, there you are' the figure said.
'Who are you?' Arthur asked.
'Who I am is of no concern at the moment' the figure replied. 'Our connection here is short'.
'The mask is allowing me to communicate with you?'.
'Indeed' the figure nodded. 'But you are too far. The connection here is very weak, any second now we could be cut off'.
As he said that Arthur began to notice that the room was starting to fade.
The figure noticed too.
'I will keep this brief' The figure said 'You must take the mask to the coliseum! That way I will be able to contact you properly'.
'The coliseum? What do you mean?'
'The mask will know! Let it guide you!' the figure replied. The room was warping, turning back into the vault.
'Please, help us!' the figure called out before dissapating.
As the vault returned Arthur tore the mask off, gasping as if his lungs had been held in a vice.
'What in the hell was that?!' He wheezed, staggering backwards.
The mask levitated slightly, resting itself back on the pedestal.
'They're still alive!' the mask exclaimed 'They survived!'.
'That was one of them? The people of the world you came from?' Arthur asked.
'That was. I don't know how, but if he survived. Then there's hope' the mask said, sounding somewhat confident.
Arthur winced in pain, as an image flickered in his mind. A star filled void filled his mind, in the centre glowed a bright red star.
'That same star again' he whispered.
'We have to find them!' the mask exclaimed 'They need our help'.
'He said to go to the coliseum, but I don't know what he means by that. He said you would know'.
'It's a place from my world, in some way I am connected to it'.
'Would you be able to take us there?' Arthur replied.
'I can, if it is indeed still standing' the mask said hesitantly 'But I will need your help'.
Arthur took a deep breath, pondering the situation at hand.
'I will help you' he said 'But we need to prepare for this journey first'.
The mask fell silent, it too was pondering.
'Agreed' it replied.
'I will start packing' Arthur said. Moving towards the staircase.
As he reached the doorway, the mask called out to him.
'Thank you' it said.
Have a seat, stretch your feet, she'll bring you something to eat as you listen to the pulsating beat.
I promise, this is the last from that bench by Shad Thames. I feel that I have been able to get three shots different enough from the same subject.
"Wandering amidst Shanghai's skyscrapers is like navigating through the stars of modernity. Every corner reveals a new perspective, with lights and shadows dancing on the glass facades. It's a city pulsating with life and innovation. Another view of its majestic skyline".
The Bridge of Peace, Tbilisi, Georgia.
Relatively newly constructed the Bridge of Peace is definitely the attraction one wouldn’t want to miss in Tbilisi. It is a pedestrian glass and steel bridge in a bow-shaped design that sits over the Mtkvari (Kura) river in Georgian capital. It was officially opened in May 2010. The bridge was brought to Georgia from Italy in 200 unassembled components. The bridge is 156 meters long and has more than 10 000 LED bulbs built-in, that are switched on daily 90 minutes before the sunset.
The pulsating lights are communicating the message in Morse code; the message says chemical elements from the Mendeleev’s periodic table that make up a human body. The idea of the Italian designer Michele De Lucchi was to broadcast the message which is “the anthem of life and piece among people and nations”.
For video, please visit youtu.be/uuXt4UxoeEc
This is an all-sky 360° panorama from the horizon at the edges, to the zenith at centre, taking in the entire sky during an outburst of a particularly colourful aurora on September 16, 2024. This was from home in southern Alberta. This was taken immediately after All-Sky Panorama #1, so the aurora changed a lot in a couple of minutes.
North is at bottom; south at top; east to the right; west to the left. Note the aurora's coronal outburst is converging at the magnetic zenith south of (above) the actual zenith which is dead centre here.
The numbers were indicating a Kp index of 8 this night, though the peak was earlier in the evening before it got dark at my location. The aurora was well underway in the darkening twilight, but underwent a major outburst at about 9:25 pm MDT when I shot this panorama.
The brightest part of the display captured here lasted only a few minutes before the show settled down into fainter pulsating patches and curtains.
But for a few minutes the curtains converged to the magnetic zenith at top left to produce a coronal outburst that was bright to the eye, and pinkish-white here. The outburst was notable for its strong pinks over much of the sky, likely from nitrogen molecules glowing, indicative of a very energetic rain of electrons. Also present are the more usual yellow-greens from oxygen, and briefly at right to the southeast some strong oxygen reds. The bright object at right is the almost Full Moon rising. Arcing across the south at top is a diffuse blue-green band, which might be a proton aurora with hydrogen-beta emission. The sky is blue from moonlight. A more normal green curtain of aurora is low in the north at bottom.
At centre are the Summer Triangle stars, with Deneb (below) and Vega (at centre) and Altair (above). At bottom low in the north is the Big Dipper, Polaris and Cassiopeia. The light at top left in the yard is another camera shooting a time-lapse.
Technical:
This is a panorama of 12 segments (at 30° spacing for generous overlap), shot in quick succession, each 4 seconds long with the Venus Optics Laowa 15mm lens at f/2 and the Canon R5 at only ISO 400, with the camera in portrait orientation. Developed in Camera Raw and stitched in PTGui. The aurora was changing rapidly, so the zenith area in particular at top is a blend of various segments' content to create a smooth transition without abrupt seams. So the panorama does not represent what the aurora looked like at one instant in time, but is a blend of images taken over about a minute.
The original is 11,500 pixels square.
Peering deep into the core of the Crab Nebula, this close-up image reveals the beating heart of one of the most historic and intensively studied remnants of a supernova, an exploding star. The inner region sends out clock-like pulses of radiation and tsunamis of charged particles embedded in magnetic fields.
The neutron star at the very center of the Crab Nebula has about the same mass as the sun but compressed into an incredibly dense sphere that is only a few miles across. Spinning 30 times a second, the neutron star shoots out detectable beams of energy that make it look like it's pulsating.
The NASA Hubble Space Telescope snapshot is centered on the region around the neutron star (the rightmost of the two bright stars near the center of this image) and the expanding, tattered, filamentary debris surrounding it. Hubble's sharp view captures the intricate details of glowing gas, shown in red, that forms a swirling medley of cavities and filaments. Inside this shell is a ghostly blue glow that is radiation given off by electrons spiraling at nearly the speed of light in the powerful magnetic field around the crushed stellar core.
The neutron star is a showcase for extreme physical processes and unimaginable cosmic violence. Bright wisps are moving outward from the neutron star at half the speed of light to form an expanding ring. It is thought that these wisps originate from a shock wave that turns the high-speed wind from the neutron star into extremely energetic particles.
When this "heartbeat" radiation signature was first discovered in 1968, astronomers realized they had discovered a new type of astronomical object. Now astronomers know it's the archetype of a class of supernova remnants called pulsars - or rapidly spinning neutron stars. These interstellar "lighthouse beacons" are invaluable for doing observational experiments on a variety of astronomical phenomena, including measuring gravity waves.
Observations of the Crab supernova were recorded by Chinese astronomers in 1054 A.D. The nebula, bright enough to be visible in amateur telescopes, is located 6,500 light-years away in the constellation Taurus.
Credits: NASA and ESA, Acknowledgment: J. Hester (ASU) and M. Weisskopf (NASA/MSFC)
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Follow us on Twitter
Like us on Facebook
Find us on Instagram
In the depths of ancient Rome,
Amidst the steam and opulence,
Marcus Licinius Crassus, man of grand allure,
Proclaimed a name that would echo through history's pages,
A transformation, a metamorphosis of a peculiar sort.
"By the hearth of the gods, I decree!
No longer shall you be confined to the realm of sluggishness,
But rise, my friend, as a force to be reckoned with,
A conqueror of galaxies, a mighty Sith lord."
And in these words, a tiny creature found rebirth,
The humble snail, confined to obscurity's cradle,
Now embraced with a grandeur never imagined,
Transcending the boundaries of its shell.
Darth Vadercus, the name that echoed through the halls,
Causing whispers and murmurs akin to celestial winds,
Invisible threads bound this newfound entity,
To the realms of mythology and untold realms.
For who was this snail but a harbinger of change,
A symbol of relentless determination,
Crawling amidst the vastness of the universe,
Leaving a trail of celestial dust behind.
No longer confined to the world of another,
Darth Vadercus transcends the bounds of the mundane,
In every slow, calculated movement,
The power of the Sith lords pulsates through its veins.
As the stars watch with curious eyes,
The snail-turned-Sith embraces its newfound identity,
With a shell adorned in darkness and mystery,
A nocturnal emblem of the cosmic unknown.
So let the empires tremble and the galaxies quake,
For Darth Vadercus, once a humble snail,
Now ascends to a realm of infinite possibilities,
A poet of the cosmos, forever roaming the heavens.
In the grand tapestry of time,
Marcus Licinius Crassus proclaimed a new destiny,
And Darth Vadercus, the snail no more,
Became the stuff of legends, an immortal dance with fate.
— Poem courtesy of Editpad Poem Generator.
Stable Diffusion
After just a few months of relative quiescence, Etna is back to business. Following a few days of gradually increasing, though generally low-level Strombolian activity, the New Southeast Crater is emitting a rather scenic little lava flow and pulsating lava fountains rise a few hundred meters above the crater rim. This activity is not one of those huge, violent, immensely spectacular and also dangerous paroxysms as those of last year, but it is a return to more vigorous activity a sign that new magma is arriving at the surface, which might, in the near future, also lead to more violent paroxysmal phenomena.
This photo was taken after sunset on 15 June 2014 from our home in Tremestieri Etneo, on the southern flank of the volcano
226/365
View in LIGHTBOX! So much better. Promise.
the fibers of the wall used to vibrate as he slept. pulsating between wood and cement, the pipes would shake and shake from forces that lingered just above the clouds and below that grey air of space.
he never woke up, but all throughout life, he suffered from an inexplicable fear of earthquakes.
and then one winter day, a zipping sound leaked from between clouds in the sky, and he rushed from his home to look upwards, and there he saw them. this was the first encounter.
The First Encounter:
A sighting of one or more unidentified flying objects:
- Flying saucers
- Odd lights
- Aerial objects that are not attributable to known human technology
This is going to be a series that follows the various types of alien encounters. I was inspired by Spielberg's Close Encounters of the Third Kind. I watched it last night with my mom. :)
Also, I've been so incredibly sick the past two days. :(
Before and After on my Facebook Page!
P.S. I surpassed 200,000 views. Thank you all so much. You help keep me motivated and inspired. I would not be here without your support. <3
Like my Facebook page!
The Northern Lights in a superb all-sky Kp6 to 7 display on August 11-12, 2024, here over 70 Mile Butte in Grasslands National Park, Saskatchewan, near Val Marie. This was also a peak night for the 2024 Perseid meteor shower, and one bright Perseid meteor shoots down the Milky Way in Cygnus at top, amid the converging rays of the aurora at the magnetic zenith.
This was one frame from a 730-frame rapid-cadence time-lapse, set for the aurora and its fast pulsating motion. Each exposure was only 2 seconds with a 1-second interval, so I was lucky to catch the meteor in its entirety on this frame.
This is a single exposure with the Venus Optics/Laowa 10mm Z lens wide open at f/2.8 on the Nikon Z6III at ISO 6400. Adobe DeNoise AI applied.