View allAll Photos Tagged Realizations
The Plaza de la Encarnacion in Seville is notable for the amazing structure at its heart, though there is still some work to do on the plaza's regeneration.
METROPOL PARASOL - Redevelopment of Plaza de la Encarnacion, Seville, Spain
Project Architect: Jürgen Mayer H., Andre Santer, Marta Ramírez Iglesias
J. MAYER H. Project Team: Ana Alonso de la Varga, Jan-Christoph Stockebrand, Marcus Blum, Paul Angelier, Hans Schneider, Thorsten Blatter, Wilko Hoffmann, Claudia Marcinowski, Sebastian Finckh, Alessandra Raponi, Olivier Jacques, Nai Huei Wang, Dirk Blomeyer (Management Consultant 1st Phase)
International Competition 2004, 1st Prize, Project: 2004-2011, Opening: March 2011, Completion: April 2011
Client: Ayuntamiento de Sevilla und SACYR
With: ARUP GmbH NL Berlin/Madrid
Technical Support for Plants – Competition 2nd Phase only: Coqui-Malachowska-Coqui with Thomas Waldau
Technical Consultant and Multidisciplinary Engineers for Realization: Arup
Timber Construction Company: Finnforest
Potos: Fernando Alda, David Franck, Sama J. Canzian
Permanent Collection of Museum of Modern Art, NY and Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Berlin, Permanent Collection of DAM, Deutsches Architekturmuseum Frankfurt, Germany, Holcim Award, 2005, Winner Europe Bronze for Sustainable Construction, Reddot Award 2012 – Best of the Best
Mies van der Rohe Award 2013, Finalist
“Metropol Parasol”, the Redevelopment of the Plaza de la Encarnacíon in Seville, designed by J. MAYER H. architects, becomes the new icon for Seville, – a place of identification and to articulate Seville’s role as one of the world’s most fascinating cultural destinations. “Metropol Parasol” explores the potential of the Plaza de la Encarnacion to become the new contemporary urban centre. Its role as a unique urban space within the dense fabric of the medieval inner city of Seville allows for a great variety of activities such as memory, leisure and commerce. A highly developed infrastructure helps to activate the square, making it an attractive destination for tourists and locals alike. The “Metropol Parasol” scheme with its impressive timber structures offers an archaeological museum, a farmers market, an elevated plaza, multiple bars and restaurants underneath and inside the parasols, as well as a panorama terrace on the very top of the parasols. Realized as one of the largest and most innovative bonded timber-constructions with a polyurethane coating, the parasols grow out of the archaeological excavation site into a contemporary landmark, defining a unique relationship between the historical and the contemporary city. “Metropol Parasols” mix-used character initiates a dynamic development for culture and commerce in the heart of Seville and beyond.
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.
Plein air gouache piece at the Los Angeles Self Realization Fellowship Headquarters on Mt. Washington.
A sad realization has come to me over the last few months, with NS starting to pull the 9400 and 9500 series Dash 9's out of service for conversion to AC44C6M's, it's only a matter of time before the thoroughbred painted Dash 9's (without the white stripe on the roof) will be nothing but a memory. I'm starting to now go out of my way to shoot these things, most of them well worn with parts of their paint melted, filthy and rusty. But it provides a look back to NS' better days, before all of the PSR and corporate shenanigans took place within the last few years.
With that being said, here we see thoroughbred Dash 9 #9709 heading east by Millbury with intermodal train 264 (formerly 22K) in tow.
The realization hit me I never took an individual pic of Bedlam, my Unoa Lusis, with her faceup, eyes, and hair. So here she is! First pic of 2014 goes to her. :D
Self Realization….
Sometimes I find it hard Being me…I work to realize my worth….
I know who I am….what makes me tick….
I have had a great desire for others to find it worth delving just beneath the surface…to see what I usually keep hidden.
Recently I have come to a strong realization. My desire for others to seek out what is underneath is not important….If I remain true to myself….to who I am…it will be seen….by ones that have the heart to see it…That is all that is important……
Formed only in 2007, Fleshgod Apocalypse are at the vanguard of Italy’s extreme metal movement. No other band in the country’s history has taken ownership of and innovated on death metal quite like the Italians. Inspired by greats Morbid Angel, Deicide, and Cannibal Corpse as well as renowned composers Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig Van Beethoven, Fleshgod Apocalypse have fused disparate genres and crafted a sound that’s powerful, impressive, and unique across three full-lengths, the latest of which was 2013’s critically-acclaimed Labyrinth effort. However, the group are only getting stronger. Add in film score composers such as John Williams, Hans Zimmer, and Howard Shore and melodic death metal—Carcass and At the Gates—and there’s clearly no stopping Fleshgod Apocalypse’s creative ambitions.
“Fleshgod Apocalypse’s music is orchestral music,” says frontman/guitarist Tommaso Riccardi, blurring the lines between classical refinement and metallic bombast. “This means that drums, bass, guitars, and vocals are elements of the orchestra, together with all the other sections, [such as] strings, brass, etc. This means that in the process of composing new songs we always consider all these elements together. Of course, sometimes a guitar riff could be the starting point, while sometimes the song could come to life with the idea of a main orchestral theme or a drum rhythm, but it’s going to be a very organic process in which all these elements are written and arranged together during the evolution of the songwriting.”
What Riccardi is saying is that when it comes to writing music for Fleshgod Apocalypse, the spark of inspiration can come from anywhere on any instrument. For new album, King, a song like “Gravity” started with a riff, while a song like “In Aeternum” kicked off with an orchestral motif. Then again, “The Fool” was informed by both Classical and death metal. As with Labyrinth so too with King, the Italians focused first on melding their influences and second on writing songs that would be immediately recognizable yet have a wider and deeper cinematic scope.
“[The songwriting was] very stressful as usual,” the frontman laughs. “We are extremely meticulous about everything, especially the songwriting, and I think this is what made us grow up so fast and gave us the chance to play so many great stages over the years. We are hard workers and we never settle on anything. King’s songwriting and arrangements took almost nine full months—plus all the recordings—so it was actually very challenging. But we are so happy with the results.”
To date, every Fleshgod Apocalypse album is built on the album before it. They’re a synthesis of the music and mentality of what came before. Labyrinth took from and expanded upon 2011’s Agony. The Mafia EP was an extension of debut album, Oracles (2009). King is, therefore, cut from the same cloth as Labyrinth, but in the three years between albums, Fleshgod Apocalypse have matured greatly.
“[King] is much more than the sum of its parts,” says Riccardi. “I think we reached the perfect balance between all the aspects of our music. Besides that, I really believe that we simply wrote our best songs so far. Every riff is mind-blowing and the way we managed the arrangements and song structures is great; I really feel that everything is in the right place, when I listen to it.”
Fleshgod Apocalypse are no strangers to concept albums. Agony was about all the ways our painful feelings can lead us to be violent and hurt others; Mafia was about the way the Italian mafia uses fear to control the weak and perpetrate their dominion on the populace; while Labyrinth centered on the labyrinth of Knossos, the legendary maze made by Daedalus. King, however, moves the band forward lyrically. There’s real commentary behind the stories of a collapsing world.
“King is about an old world that is slowly coming to an end,” Riccardi informs. “The king himself is, in a way, the only positive character of the whole story. He represents justice, integrity, and wisdom that are slowly being corroded by ignorance and mediocrity spreading everywhere. We thought this could be a perfect way to describe our indignation about the unrestrainable downfall of our own society in an era that looks more like the Middle Ages rather than the 21st Century. Obviously, in this story there is a positive message: that the king could be inside every one of us. It’s up to us to recognize the King and find the courage to stand for what we believe in. We should all hail the king we have inside!”
Recorded across two studios—Kick Recording Studios and 16th Cellar Studios—King is easily Fleshgod Apocalypse’s most forceful yet. Pre-production was handled by Stefano Morabito at 16th Cellar Studios—a session Riccardi called “really comfortable”—whereas the full production was completed at Kick Recording Studios with Marco Mastrobuono (Hour of Penance). The sessions for King were, as the frontman tells it, an “amazing time.” The ultimate goal was to give Fleshgod Apocalypse a firm foundation from which to build their complex yet savage music.
“I think working with Marco has been the very first step towards the realization of a very high quality product,” says Riccardi. “We are extremely satisfied about the work we did on the album sound, both during the recordings with Marco Mastrobuono at Kick Recording Studio and of course during mixing and mastering with the almighty Jens Bogren at Fascination Street Studios.”
Speaking of Bogren, the Italians felt it was absolutely necessary to take King out of the norms of their homeland. They opted to hire Jens Bogren (Soilwork, Symphony X, Enslaved) for his sonic expertise. Their reasoning was this: if Fleshgod Apocalypse had a gem in King on their hands they weren’t going to tarnish it. The group’s hopes were answered when they heard the first Bogren mix, actually. Fleshgod Apocalypse had something massive on their hands.
“We were looking for people who could really interpret our music and put it in a way in, which with all the things going on, where it could be intelligible and still extremely heavy and powerful,” the frontman says. “And we definitely succeeded. We finally obtained what we had in mind since the beginning: a great sounding album.”
If Fleshgod Apocalypse are at the pinnacle of classically-inspired death metal—King is a pivotal album—then where will the Italians take the genre next. For certain, they own it. More orchestration. More death metal. Superlative bluster from all angles. Thankfully, they can first put their efforts into King before deciding where they’ll take the genre in the future.
“This is a very hard question to answer,” Riccardi admits. “It is never easy to predict something like that. What I can say is that on our side, we are trying to push ourselves more and more into something that is grandiose, but at the same time heavy and sharp; something violent, obscure and dramatic!”
We can certainly live with that. Hail to Fleshgod Apocalypse! Hail to the King!
Gender: Women's
*Material: Gore-Tex Pro Shell 100% Fleece liner
*Fit: Standard
*Center Back Length: 25.8in
*Windproof: Yes Guaranteed
*Waterproof:Yes Guaranteed
*Pockets: Yes Handwarmer zip pockets
*Lining:Windproof breathable fully seamed sealed exterior with removable fleece liner
*Hood:Yes Removable warm hood
*Weight: 1250g
*Color Available:Black
*Size Available:S M L XL XXL
*Recommended Use: Winter Spring Fall Summer(Remove the liner) All Seasons
*Manufacturer Warranty: Lifetime
www.wholesale-u.com/the-north-face-realization-jacket-wom...
Fourth attempt:
One of my ideas for this weeks challenge at the Twitter Photo Challenge.
This weeks topic is "Rundt", which is Norwegian for round, circular, etc.
The concept for this photo is planning of an adventurous sailing expedition around the world. If it will be a realization remains to be seen...
The photo is setup with placing my camera on the top of a set of books (my brother stole my tripod!).
Used the internal blitz on my D-SLR and used natural lights from both windows in my living room, with one worklamp from the right side of the objects and one from behind the left of the camera. One ceiling lamp also provided lamp as well as a smaller reading spot lamp on the right side of me.
Shot info:
Camera: Canon EOS 40D
Lens: Canon EF 50mm f1.4 USM
Focal length: 50 mm
ISO: 200
Exposure: 1/60s
Aperture: f5.0
Exposure: +0.45
Did several adjustments to the photo including adjustments of tones, RAW data and added vignette in Adobe Lighroom.
I would be pleased to hear your feedback as I am not sure if this will be my final product
I look like I'm waitin' for someone to just make my day here, but really...I'm trying to just be at peace with my situation, the path I'm taking, the friends I'm making. My dad said some things to me today that really made me stop. think. cry.
I'm ok, I do know that much.
There's nothing spectacular about it, but it gives me warm fuzzies. This store is probably the coolest place in Ocean Springs. It's all Walter Anderson branded items; purses, jewelry, paintings, clothing, cards, home furnishings and it's all in the L&N Train Depot downtown. I just like the warm, toned down colors in this shot. I wish I shot further up to get the top of the clothesline as a leading line, but I can always go back.
I was only thinking of shooting reflection of flash in this photo but during processing when I increases the brightness it shows me a "Path of Karma", i.e.. 'Geeta' at the right corner.
Hair: Moa
Artistic Direction: Laure Delvigo
Realization Photos: Thierry Chekroun
Photos: Sandre Fourqui
Stylist: Laure Delvigo
Design Graphic: Virginie Bourgeois
Make up: Sophie Nominé Bouteille
Tratto da: Estetica Hair Magazine
There's nothing as earth-shaking as the shocking realization that, unlike some of you out there, I am utterly and completely on my own... I can't tell my family what I'm going through, what I've been dealing with, and am still dealing with, for over 25 years so far.
I've worked so hard at hiding it from my parents and sister, in order to avoid any embarassing situations, but as I get older, and as long as I don't have plans set to finally get out on my own, it's suffocating me. I will work to get out on my own sooner or later. It will happen, it will just take a while, and a lot of personal (read as "financial") sacrifice to do so, but, mark my words, days like today (Tuesday June 15, 2010) just strengthen my resolve to make it happen.
Remember where I mentioned letting down my guard? It doesn't even have to entail having someone come in and catch you dressed up. It can be even something as subtle as maybe subconsciously calling attention to your nails, holding them out, and even the clear base coat being noticeable.
Well, Mom noticed, and gave me the marching orders to clip them. (I did, though not as short as she preferred. I am an adult, and I should be able to live as I wish, but ultimately, I will have to get out on my own. I can't do anything about not having any sort of plans that I should have had about 20 years earlier, but I can work hard to make up for lost time.) She also emphasized that I shouldn't put nail polish on.
I will not give up, I will not purge. I will just work harder to hide it. I shouldn't have to do this. I will not give up. The door was opened, I will not be forced back into a closet I've been trying to get out of. I have to find the answer for myself. I have to find out who I am.
But, it sucks... It hurts... I love my parents and my sister, but it hurts terribly to know that a handful of friends online and offline can understand and accept, but my own family can't...
What the hell do I do? I can't give up. I won't accept defeat. I will not fade away. I will make my mark upon this world somehow... I will overcome my fears. I have to conquer my fears and become stronger, for both sides of myself.
I will work harder...
(A faint ray of hope... She didn't notice that I went through another cycle of Nair on the arms (and chest), and that I slightly redefined my eyebrows... As long as I don't make drastic changes... I guess... I won't give up... regardless...)
Literary Analysis
The choice of Psalm 113 as the introductory “Hallelujah” psalm in the Hallel Service of the prayer book was obviously dictated by the realization that this psalm is the paradigm for all Hallelujah psalms. It opens with a command or invitation to the worshipers, “the servants of the Lord,” to give praise to the Lord and proceeds with several examples of the Lord's majesty and goodness. The worshipers are enjoined to praise the Name of the Lord, His glorious manifestation among mankind. This call to praise the Lord is rendered in a stirring sequence of rhythms and repetitions suggesting a public invitation to prayer. The second verse, “Let the Name of the Lord be blessed now and forever,” is well-known as the response to the opening invitation to praise of the Lord in The Grace After Meals (Birkat hamazon). Its antiphonal usage may, indeed, have its roots in the original psalmic tradition.
The psalm turns to the omnipresence of the Lord's Name, His reputation generated by the manifestations of his deeds; it embraces the earth from the place of sunrise to that of sunset, both crucial acts of nature controlled by the Lord. Moreover, just as He “is exalted above all nations, “His glory is above the heavens.” The psalmist moves subtly here from the outward manifestation of the Lord's majesty to His transcendence above nature, even above the heavens. The uniqueness of the Lord is reaffirmed in verses 5 and 6 which comprise the heart of the psalm, the wonder of this God who is so transcendentally exalted, yet concerned with what happens among mankind below on earth. The combination of these two polar opposites are bound in sound by the seemingly rhymed, archaized suffixes: "hamagbihi" (who sits on high) in v. 5 with “hamashpili” (he who sees below) in v. 6.
The high/low contrast is continued in the next two verses in “mekimi” (He raises) and “moshivi” (He sets on high): the Lord, through His power and benevolence, raises the poor and the needy, He sets them with the great men of His people.” Verses 7 and 8 form an exquisite cluster of correspondences and parallels. “Mekimi” (He raises) in v. 7 corresponds to lehoshivi (to set them) in v. 8 in both meaning and sound. Within each of these two verses, the second part of the verse echoes its first part so that v, 8 also echoes v. 7. Their use of repeated prepositions is balanced: in v, 7 we have the “mi” (from ) twice while in v. 8 we find two instances of “im” (with) in precisely the same position of the sentence as in v. 8.
These two verses, 7 and 8, surprisingly prepare us for verse 9, since all three verses echoes verses from the second chapter of Samuel I, the prayer of thanksgiving Hannah sings when the Lord frees her from her childlessness by granting her a child, the prophet Samuel. Though the names are absent from verse 9, the psalmist and his audience could not miss the reference to this classical instance of God's power and mercy in setting (again “moshive”) “the childless woman (akara) amid her household as a happy mother of children.” The help the Lord extends to childless women is as old as Sarah and Abraham in Genesis. This Hallelujah psalm thus ends climactically with a well-known example, both from real life and literature, that all worshipers can identify with. The repeated use of the archaized form of these adjectives marks them as significant epithets of the Lord; these attributes add details to the characterization of His Name. In both theme and its execution, this psalm is obviously the quintessence of psalmic expression, hence richly deserving of its place as the first psalm of the traditional Hallel Service of the Prayer Book.
After some 100 visits to the station of the Belgium station of Hasselt and certainly more than 1000 pictures We started in 2003 with the construction of the layout. Now, 10 years later, to finally get to where you are looking at.
This layout was built as the station and the tracks in Hasselt year 2002 there were. The piece from the bridge St. Truidersteenweg to the bridge Ring (Henry of Veldekesingel) is full scale display. In reality, the range measures 1.6 km and the layout almost 16 meters.
The time situating 2002 is deliberately chosen to be able to operate the older traction equipment as well as the new locomotives. From 2000 a wide range of new locomotives came into service and the old traction equipment systematically was reduced.
For the realization of the backgrounds we made a photo report on May 27, 2011 along the Fonteinstraat and Spoorwegstraat with a steeplejack at an average altitude of 24 meters. You could guess, it was a rainy day. Then it was a work of three months create from about 500 pictures a realistic background and give it an overall brighter look
Today is the first time that this layout is presented in its entirety. There are countless detail work planned. Certainly until 2017 should be built. Many details and different buildings are yet to be realized.
Formed only in 2007, Fleshgod Apocalypse are at the vanguard of Italy’s extreme metal movement. No other band in the country’s history has taken ownership of and innovated on death metal quite like the Italians. Inspired by greats Morbid Angel, Deicide, and Cannibal Corpse as well as renowned composers Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig Van Beethoven, Fleshgod Apocalypse have fused disparate genres and crafted a sound that’s powerful, impressive, and unique across three full-lengths, the latest of which was 2013’s critically-acclaimed Labyrinth effort. However, the group are only getting stronger. Add in film score composers such as John Williams, Hans Zimmer, and Howard Shore and melodic death metal—Carcass and At the Gates—and there’s clearly no stopping Fleshgod Apocalypse’s creative ambitions.
“Fleshgod Apocalypse’s music is orchestral music,” says frontman/guitarist Tommaso Riccardi, blurring the lines between classical refinement and metallic bombast. “This means that drums, bass, guitars, and vocals are elements of the orchestra, together with all the other sections, [such as] strings, brass, etc. This means that in the process of composing new songs we always consider all these elements together. Of course, sometimes a guitar riff could be the starting point, while sometimes the song could come to life with the idea of a main orchestral theme or a drum rhythm, but it’s going to be a very organic process in which all these elements are written and arranged together during the evolution of the songwriting.”
What Riccardi is saying is that when it comes to writing music for Fleshgod Apocalypse, the spark of inspiration can come from anywhere on any instrument. For new album, King, a song like “Gravity” started with a riff, while a song like “In Aeternum” kicked off with an orchestral motif. Then again, “The Fool” was informed by both Classical and death metal. As with Labyrinth so too with King, the Italians focused first on melding their influences and second on writing songs that would be immediately recognizable yet have a wider and deeper cinematic scope.
“[The songwriting was] very stressful as usual,” the frontman laughs. “We are extremely meticulous about everything, especially the songwriting, and I think this is what made us grow up so fast and gave us the chance to play so many great stages over the years. We are hard workers and we never settle on anything. King’s songwriting and arrangements took almost nine full months—plus all the recordings—so it was actually very challenging. But we are so happy with the results.”
To date, every Fleshgod Apocalypse album is built on the album before it. They’re a synthesis of the music and mentality of what came before. Labyrinth took from and expanded upon 2011’s Agony. The Mafia EP was an extension of debut album, Oracles (2009). King is, therefore, cut from the same cloth as Labyrinth, but in the three years between albums, Fleshgod Apocalypse have matured greatly.
“[King] is much more than the sum of its parts,” says Riccardi. “I think we reached the perfect balance between all the aspects of our music. Besides that, I really believe that we simply wrote our best songs so far. Every riff is mind-blowing and the way we managed the arrangements and song structures is great; I really feel that everything is in the right place, when I listen to it.”
Fleshgod Apocalypse are no strangers to concept albums. Agony was about all the ways our painful feelings can lead us to be violent and hurt others; Mafia was about the way the Italian mafia uses fear to control the weak and perpetrate their dominion on the populace; while Labyrinth centered on the labyrinth of Knossos, the legendary maze made by Daedalus. King, however, moves the band forward lyrically. There’s real commentary behind the stories of a collapsing world.
“King is about an old world that is slowly coming to an end,” Riccardi informs. “The king himself is, in a way, the only positive character of the whole story. He represents justice, integrity, and wisdom that are slowly being corroded by ignorance and mediocrity spreading everywhere. We thought this could be a perfect way to describe our indignation about the unrestrainable downfall of our own society in an era that looks more like the Middle Ages rather than the 21st Century. Obviously, in this story there is a positive message: that the king could be inside every one of us. It’s up to us to recognize the King and find the courage to stand for what we believe in. We should all hail the king we have inside!”
Recorded across two studios—Kick Recording Studios and 16th Cellar Studios—King is easily Fleshgod Apocalypse’s most forceful yet. Pre-production was handled by Stefano Morabito at 16th Cellar Studios—a session Riccardi called “really comfortable”—whereas the full production was completed at Kick Recording Studios with Marco Mastrobuono (Hour of Penance). The sessions for King were, as the frontman tells it, an “amazing time.” The ultimate goal was to give Fleshgod Apocalypse a firm foundation from which to build their complex yet savage music.
“I think working with Marco has been the very first step towards the realization of a very high quality product,” says Riccardi. “We are extremely satisfied about the work we did on the album sound, both during the recordings with Marco Mastrobuono at Kick Recording Studio and of course during mixing and mastering with the almighty Jens Bogren at Fascination Street Studios.”
Speaking of Bogren, the Italians felt it was absolutely necessary to take King out of the norms of their homeland. They opted to hire Jens Bogren (Soilwork, Symphony X, Enslaved) for his sonic expertise. Their reasoning was this: if Fleshgod Apocalypse had a gem in King on their hands they weren’t going to tarnish it. The group’s hopes were answered when they heard the first Bogren mix, actually. Fleshgod Apocalypse had something massive on their hands.
“We were looking for people who could really interpret our music and put it in a way in, which with all the things going on, where it could be intelligible and still extremely heavy and powerful,” the frontman says. “And we definitely succeeded. We finally obtained what we had in mind since the beginning: a great sounding album.”
If Fleshgod Apocalypse are at the pinnacle of classically-inspired death metal—King is a pivotal album—then where will the Italians take the genre next. For certain, they own it. More orchestration. More death metal. Superlative bluster from all angles. Thankfully, they can first put their efforts into King before deciding where they’ll take the genre in the future.
“This is a very hard question to answer,” Riccardi admits. “It is never easy to predict something like that. What I can say is that on our side, we are trying to push ourselves more and more into something that is grandiose, but at the same time heavy and sharp; something violent, obscure and dramatic!”
We can certainly live with that. Hail to Fleshgod Apocalypse! Hail to the King!
Searching after God, is like a pinch of salt trying the find the bottom of the ocean; The moment that pinch of salt touches the surface of the ocean, it becomes part and parcel of the ocean…
_____________________________________________________
Similarly, a person who searches after God will finally merge with God
or
the limited “I” (Ego) will become the unlimited “I” [God)
_____________________________________________________
Our problem is we see ourselves as the perishable material body.
The moment we REALIZE that we are the immortal soul ( Atman ) within the body, all our problems are solved and we attain Self Realization.
_____________________________________________________
That what happens to a person sincerely searches after GOD since GOD WITHIN the body is a MICROCOSMIC representation of GOD WITHOUT the body.
“A drop of water entering the ocean joyfully merges into something greater than itself.”...........
A devotee will have the same perennial happiness when he or she attains SELF REALIZATION.
It is our duty to educate others about our proud culture. On my part, I am the author of the international best seller AM I A HINDU? which is used in many universities in USA and Canada.
Am I A Hindu? is an international Best Seller about Hindu Culture.....
It is a very lively discussion between a 14 year old American born Indian teenager and his middle aged father about every aspect of Hinduism in very simple question and answer format in 90 chapters.
Highly recommended for all libraries by LIBRARY JOURNAL and BOOKLIST magazines in USA….This book is used in many universities in USA and Canada in their world religion classes. .......................
.
Am I a HINDU. --- Amazon
www.amazon.com/Am-Hindu-The-Hinduism-Primer/dp/1879904063...
Sharmila Biswas (Kolkata) - Odissi - 19 October 2010 (Tuesday)
A leading dancer and choreographer of Odissi, Sharmila Biswas was initiated by Kalavati Devi and Guru Bipin Singh at Children’s Little Theatre, Calcutta. She, then, came under the tutelage of the doyen of Odissi, Guru Kelucharan Mohapatra at the Padatik Dance Centre. Sharmila learnt abhinaya with Kalanidhi Narayanan. Her interest in the origins of Odissi led her to study the vocabularies of Oriya creative arts, including the life and works of the Maharis. She has also trained in several folk and tribal dance and music traditions of the state. Sharmila attended in 1990 the Young Choreographers' Workshop organized by the American Dance Festival where she interacted with eminent choreographers of world repute. Sharmila’s choreography reflects her strong groundwork in the traditional movement skills of India. Proficient equally in classical Odissi and experimental choreographic work, her originality in composition, technique and stage design allows her to explore and create new forms of expression. Variously honoured, Sharmila is the founder chairperson of the Odissi Vision and Movement Centre that promotes Indian dance and music through research, training and performances.
Presentation
The four-part presentation ABAHANI commences with Abahan. Abahan, or Invocation, traditionally seeks to invite the divine to bless the performance. Each dance style has evolved its own gestural and musical expressions for this ritual. Abahan explores these expressions in Odissi. The next piece, Gativilas, is inspired by a Sanskrit verse commonly chanted by rural mridanga players of Orissa. It describes the attributes of an ideal performer, comparing her gait, stance, energy and expressions with those of different animals. Katha Surpanakha, done in the kathakar style, portrays the many contrasting emotions that exist simultaneously in a person. Here, the dancer moves away from the grossness of Surpanakha’s appearance and mind, and attempts to create a more convincing character – her absolute focus on Rama when she sees him, her volatile reactions after, the life-changing realization that follows, and, finally, the grief of rejection. The music for this segment draws on the popular styles of Coastal Orissa and well-known medieval texts, such as Baidihesa Bilasa by Kavisurya Upendra Bhanja and Bichitra Ramayan by Biswanath Khuntia. The fourth and final piece is Murchhana that highlights the special features of Odissi mridanga, and the form of Odissi dance that emerges when accompanied by it.
www.arqueologiadelperu.com/researchers-use-stars-to-infer...
What if your doctor told you that your weight is somewhere between 100 and 400 lbs.? With any ordinary scale every patient can do better at home. Yet, one patient can't: the Milky Way. Even though today we peer deeper into space than ever before, our home galaxy's weight is still unknown to about a factor of four. Researchers at Columbia University's Astronomy Department have now developed a new method to give the Milky Way a more precise physical checkup.
Artist's conception of the Milky Way galaxy [Credit: Nick Risinger]
The Milky Way consists of roughly 100 billion stars that form a huge stellar disk with a diameter of 100-200 thousand light years. The Sun is part of this structure, hence, when we look into the sky, we look right into a gigantic disk of stars. The vast number of stars and the huge extent on the sky make it hard to measure fundamental quantities for the Milky Way, such as its weight.
An international team of scientists led by Columbia University researcher Andreas Küpper used stars outside this disk, which orbit around the Milky Way in a stream-like structure, to weigh the Milky Way to high precision. In a new study published in The Astrophysical Journal, the team demonstrates that such streams, produced by dissolving globular clusters, can be used to measure not only the weight of our Galaxy, but can also be exploited as yardsticks to determine the location of the Sun within the Milky Way.
"Globular clusters are compact groups of thousands to several millions of stars that were born together when the universe was still very young," said Küpper. "They orbit around the Milky Way and slowly disintegrate over the course of billions of years, leaving a unique trace behind. Such star streams stick out from the rest of the stars in the sky as they are dense and coherent, much like contrails from airplanes easily stick out from regular clouds."
The researchers used data from the Sloan Digital Sky Survey, which scanned the sky of the Northern Hemisphere for about 10 years to create a comprehensive catalog of stars in the sky. The stream they tested the new technique on was produced by a globular cluster named Palomar 5, and had already been discovered in 2001 high above the Galactic disk. Eduardo Balbinot, coauthor on the current study from the University of Surrey in England, revisited the Sloan data and detected density wiggles in the stream of Palomar 5.
"We found the wiggles to be very pronounced and regularly spaced along the stream," said Balbinot. "Such variations cannot be random."
It is these wiggles that allow the researchers to gain the unprecedented precision of their measurement. Using the Yeti supercomputer of Columbia University, they created several million models of the stream in different realizations of the Milky Way. From these models and from comparing the wiggle pattern of the models to the observations, they were able to infer the mass of the Milky Way within a radius of 60,000 light years to be 210 billion times the mass of the Sun with an uncertainty of only 20 percent. The unique pattern of the density wiggles helped significantly to rule out models of the Milky Way, which were either too heavy or too skinny.
"An important advance in this work was using robust statistical tools - the same ones used to study changes in the genome and employed by internet search engines to rank websites," explained Ana Bonaca, a coauthor from Yale University. This rigorous approach helped in achieving the high precision in weighing the Milky Way."
"Such measurements have been tried before with different streams, but the results were always quite ambiguous," added Professor Kathryn Johnston, coauthor of the study and chair of the Columbia Astronomy Department. "Our new measurement breaks these ambiguities by exploiting the unique density pattern that Palomar 5 created as it orbited around the Milky Way for the past 11 billion years."
In the future, the researchers aim to use more structures like the Palomar 5 stream to gain an even higher precision and to create the most realistic model of the Milky Way to date. From the improved precision the scientists hope to learn about the formation and composition of our home galaxy, and to understand how the Milky Way compares with other galaxies in the Universe. So far, the results indicate that the Milky Way is a healthy patient - neither too skinny nor too heavy for its size.Source: Columbia University [June 02, 2015]