View allAll Photos Tagged Radical
"We can only receive love to the extent that we unconditionally love and live the truth of ourselves. "❤️
In Edinburgh's Holyrood Park, about 1 mile from Edinburgh Castle, the Radical road runs along the bottom of Salisbury Crags and gives panoramic views of the city and beyond.
This track was given its name after it was paved in the aftermath of the Radical War of 1820, using the labour of unemployed weavers from the west of Scotland at the suggestion of Walter Scott who had actively supported their repression.
I have no idea if they were paid for their labour or used as slaves, its very difficult to find that sort of detailed information about the repression of the working class without wading knee deep through pro-establishment propaganda.
To me, the 'Radical War' and similar 'uprisings' by the working class in England (and elsewhere) are at least as important to remember as those pointless slaughters of the First World War which we seem to be celebrating/commemorating endlessly because we can pretend it was a war between nations rather than a mass slaughter of angry young working class men to prevent them rebelling against their ruling class all over Europe.
There are no poppies for the leaders of working class uprisings who were rounded up and cruelly executed or for those who were slaughtered on the streets by the Hussars or for those who were rounded up and forced to be slaves in the colonies.
As seen just off Valencia Street, Mission District, San Francisco. This mural what the subject of some controversy.
Beading is one of the defining mediums of contemporary Indigenous art on this continent, and this landmark exhibition brings much-needed critical attention to the breadth and impact of this practice.
From early beads made of seeds and shells, to trade beads and computer pixels, Indigenous artists have long used beadwork to tell stories, honour loved ones, and celebrate beauty. As they embrace techniques and knowledge passed from previous generations, today’s Indigenous artists are using beading to address concerns and concepts related to history, decolonization and resistance.
Ranging from wearable art and portraiture, to installation and video, the works in Radical Stitch connect past and present, as they imagine new worlds. With humour, poignant testimony, and political and social commentary, this exciting exhibition examines the contemporary and transformative aspects of beading through the innovative works of artists and the tactile beauty of the medium.
Radical Ducati Matador
this is a modification of the Ducati 900SS I saw on the internet. I tried my best to capture as many details as I can. It was really fun putting all those small details, even the kick start, and the stand. The battery is inside and quite difficult to show. Hopefully, I gave justice to this beast ahahaha.
What do you think?
#ducati #lego #ducati900SS #moc #afol #toystagram #bikes #toyphotography #toyartistry_lego #art #beast #ride #ride #muscle #speed #matador #radical #900ss
The main reason I wanted to do this car in blue - so I could compare it to first model I ever labelled a Prowler. Oh, how times have changed. TBH, I much prefer the name Radic...
You can see more pictures of both and write ups on my Photostream or on my MOCpages
Radic - www.moc-pages.com/moc.php/384890
Python - www.moc-pages.com/moc.php/434390
Or you can look at the whole Prowler history in the album - www.flickr.com/photos/121153351@N02/albums/72157643161820353
I wish I could say the clouds were like this that day, but sadly they are borrowed from someone else's day: these.
I never understood people's frustration with flickr sharpening, but today I see all to clearly- literally. So, excuse. And, I know this a lengthy caption, but please read it.
“The biblical gospel says, “You are an enemy of God, dead in your sin, and in your present state of rebellion, you are not even able to see that you need life, much less cause yourself to come to life. Therefore, you are radically dependent on God to do something in your life that you could never do.”
While simple, this sentence has changed me. In the things I struggle with- of fantasy, of fear, of lust, of control- I have desired to redirect myself to patterns of behavior and thought that would be more pleasing to God. While this could seemingly be misconstrued as biblical, and for me I was all to convinced it was, it never seemed to suffice or satisfy. For every mess up was a further set back than any progress I had seen before. At this sentence, God reintroduced me to the concept of His power in my life. And while it was some form of honorable to desire and seek after Godly ways of being in my life, doing all of such running and pursuit entirely out of my own strength proved only a death sentence. I cannot change my iniquities. Quite contrary to the American dream that I can be anything I want to me, no amount of self help books will ever make me: more trusting, less fearful, less controlling. It is deep rooted in my sin nature and I cannot help myself. No matter how much I want to, I cannot change the way I think, the way I run, the way I fear. I cannot change:
Absent of the power of God.
Embracing this truth should have made me feel helpless and worthless. But for me, it was the untying of knots- the breaking of chains. The chance, finally embraced, to be free.
“His power is so superior to ours. Why do we not desperately seek it?”
So I decided to try something. In such inability to help myself, I have fallen literally to my knees to ask for the divine power of God himself. For Him to send the spirit of himself to come and dwell in me to: love like He does and renew my mind, to help me to trust and not to fear.
“When you really contemplate it, this seems bold, doesn’t it? To go to God and say, “God I know you are busy running the universe and keeping all of creation alive, but I have this problem in my life…Would you…would you just come down, live in me, and walk though this for me?...What Jesus is saying, though, is that God our Father delights in this. He delights in giving us himself. He puts his very power in us so we might have all we need to accomplish His purposes in this world.”
In a conversation Martin Luther was having with one of the church authorities, he shared of a revelation God had given Him on the verse Romans 1:17: "This Good News tells us how God makes us right in his sight. This is accomplished from start to finish by faith. As the Scriptures say, “It is through faith that a righteous person has life." The church authority scoffed at this saying that no man can just live by faith, if you remove their works what will you put in their place? Luther responded- Christ. I would give them Jesus Christ.
My works removed and myself radically dependent on a sufficient and powerful God to do for me what I cannot do for myself.
What if I’ve found His power to be far surpassing in sufficiency to any of my previous.
What if I just jumped?
(all italicized quotes taken from Radical by David Platt)
... FONDACO: the word derives from the Arabian word فندق
which means hotel...
***************************************
First constructed in 1228, and located at the foot of the Rialto Bridge across from the fish market, the Fondaco dei Tedeschi is one of Venice’s largest and most recognizable buildings. It was used as a trading post for German merchants, a customs house under Napoleon, and a post office under Mussolini. Depicted by Canaletto and other masters, and photographed countless times as the impressive but anonymous backdrop of the Rialto bridge, the Fondaco stands as a mute witness of the Venetian mercantile era, its role diminished with the progressive depopulation of Venice.
Twice destroyed by fire and rebuilt (in its current form in 1506), manipulated in the 18th Century, and then subject to a series of radical architectural interventions in the 20th Century to accommodate the central post office under the fascist regime, the Fondaco quietly embodies Venice’s secret brutality. Almost entirely reconstructed with modern concrete technology during 1930s, the Fondaco is a historical palimpsest of modern substance, its preservation spanning five centuries of construction techniques. Regardless of the history of its adaptations (towers removed, courtyard covered with glass, windows added, structure rebuilt …) and the objective lack of authenticity of its structure, its legal status of ‘monument’ (granted in 1987) forbade almost any change.
For a long time it was the palace of the Central Post Office
in Venice till Benetton bought it in 2008....
OMA’s renovation scheme is based on a finite number of strategic interventions and vertical distribution devices that support the new program and define a sequence of public spaces and paths. Each intervention is conceived as an excavation through the existing mass, liberating new perspectives and unveiling the real substance of the building to its visitors, as an accumulation of authenticities.
The project – composed of both architecture and programming – opens the courtyard piazza to pedestrians, maintaining its historical role of covered urban ‘campo’. The new rooftop is created by the renovation of the existing 19th Century pavilion, standing over a new steel and glass floor which hovers above the central courtyard, and by the addition of a large wooden terrace with spectacular views over the city. The rooftop, together with the courtyard below, will become public venues, open to the city and accessible at all times.
New entrances to the building are created from the Campo San Bartolomeo and the Rialto; existing entrances into the courtyard, used by locals as a shortcut, have been retained; escalators have been added to create a new public route through the building; rooms are consolidated in a way that respects the original sequences; crucial historic elements like the corner rooms remain untouched. Some aspects of the building, lost for centuries, have been resurrected: the walls of the gallerias will once again become a surface for frescoes, reappearing in contemporary form.
The Fondaco dei Tedeschi will unlock its potential as a major destination and vantage point for tourists and Venetians alike; a contemporary urban department store staging a diverse range of activities, from shopping to cultural events, social gatherings and everyday life. OMA’s renovation, both subtle and ambitious, continues the Fondaco’s tradition of vitality and adaptation, its preservation yet another chapter of the building’s illustrious and multi-layered history. It avoids nostalgic reconstructions of the past and it demystifies the ‘sacred’ image of a historical building. The project was led by Ippolito Pestellini Laparelli, Rem Koolhaas and Silvia Sandor.
for more informations:
oma.eu/projects/il-fondaco-dei-tedeschi
******************************************************************************
“It is an illusion that photos are made with the camera…
They are made with the eye, heart and head.”
Henry Cartier Bresson
*********************************************************************************
Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
*********************************************************************************
The voracious tree trimmers were kind to this Philodendron mayoi E.G. Gonçalves. Doubt anyone knows how rare this Philodendron is.
Radical reinterpretation of scripture here. And not far from St Giles Cathedral either. Parliament Square, Royal Mile, Edinburgh, Scotland. At the Edinburgh Festival Fringe.
Start of the RCNA (Radical Cars North America) coming down the front stretch into turn 1 at Watkins Glen International and of course, shot through a fence :-/
This was an experimental outing to test my old 400 on my 5D and 7D. I did not have a chance to try this set-up here at The Glen as my 300 has become my primary.
I was not terribly happy with the way the 7D performed and has disappointed me for the last time. I just do not like the way it renders and it's hit-or-miss AF system... regardless of the quality of glass on the end.