View allAll Photos Tagged Reconciled
“It's hard to reconcile this August with the other one. and to be honest I don't try very hard. I've seen flashes of this August before-This brightness, this conviviality, this generosity of spirit - but I know what he's capable of, and I won't forget it. The others can believe what they like, but I don't believe for a second that this is the real August and the other an aberration.”
― Sara Gruen
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Thanks to all for 11,000.000+ views and kind comments ... !
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It was a Presence, not faith, which drew Moses to the burning bush, and what happened there was a revelation, not a seminar. It was a Presence, not faith, which drew the disciples to Jesus, and what happened then was not an educational program but his revelation to them of himself as the long-promised Anointed One, the redeeming because reconciling Messiah-Christos.
-Aidan Kavanagh, On Liturgical Theology
with the appalling things that other people think about us ;-)
Quentin Crisp ( 1908 – 1999 )
HBW! HGGT! Science Matters! Vote!!
blue dasher dragonfly on water lily, sarah p duke gardens, duke university, durham, north carolina
...when stopping to reflect can hurt you but at the same time
Understanding how useless it is to continue to believe that the ocean
Let it be just water
The strength of his restlessness
It leaves us overwhelmed and drained
Until, far from the maelstrom of the crowd
We reconcile with ourselves
Thinking I've found the answers
But these will always have to be
Stimulate because the dark darkness without end
May he eventually find the light
“If you trust in Nature, in the small Things that hardly anyone sees and that can so suddenly become huge, immeasurable; if you have this love for what is humble and try very simply, as someone who serves, to win the confidence of what seems poor: then everything will become easier for you, more coherent and somehow more reconciling, not in your conscious mind perhaps, which stays behind, astonished, but in your innermost awareness, awakeness, and knowledge.
- Rilke
Back in Florida and reconciled to spending a month or so recuperating from my foot fiasco... Fortunately I have Mill Creek in my back yard so I can sit and watch the Florida fall do its weak imitation of the flaming colors "up north". And there's always the morning mist....
"In our age everything has to be a ‘problem.’ Ours is a time of anxiety because we have willed it to be so. Our anxiety is not imposed on us by force from outside. We impose it on our world and upon one another from within ourselves.
Sanctity in such an age means, no doubt, traveling from the area of anxiety to the area in which there is no anxiety or perhaps it may mean learning, from God, to be without anxiety in the midst of anxiety.
Fundamentally, as Max Picard points out, it probably comes to this: living in a silence which so reconciles the contradictions within us that, although they remain within us, they cease to be a problem. (of World of Silence, P. 66-67.)
Contradictions have always existed in the soul of man. But it is only when we prefer analysis to silence that they become a constant and insoluble problem. We are not meant to resolve all contradictions but to live with them and rise above them and see them in the light of exterior and objective values which make them trivial by comparison."
- from "Thoughts in Solitude"
Thomas Merton
The binary mind provides quick security and false comfort, but never wisdom. It thinks it is smart because it counters your idea with an opposing idea. There is usually not much room for a “reconciling third.” I see this in myself almost every day.
-The Universal Christ / Richard Rohr.
Demons, evil and the Devil himself.
Believing in the devil is often seen as an inherent component of theistic belief in God. From a theological standpoint, the concept of the devil serves a number of crucial purposes.
Acknowledging the existence of the devil helps to explain the presence of evil and suffering in the world.
If God is all-powerful, all-knowing, and benevolent, why does evil persist? The belief in the devil provides an answer by positing that evil is the result of a fallen angel who opposes God's will and actively seeks to corrupt humanity.
This understanding allows believers to reconcile the coexistence of an all-loving God and the presence of evil in the world.
Every good story needs a villain. Without the Devil the "God story" doesn't work.
Honiton, Devon, UK.
www.youtube.com/watch?v=NjNn4bbbgSw
"Cumbersome"
(from "Churn" album)
By: Seven Mary Three
She calls me Goliath and I wear the David mask
I guess the stones are coming too fast for her now
You know I'd like to believe this nervousness will pass
All the stones that are thrown are building up the wall
I have become cumbersome to this world
I have become cumbersome to my girl
I'd like to believe we could reconcile the past
Resurrect those bridges with an ancient glance
But my old stone face can't seem to break her down
She remembers bridges, burns them to the ground.
I have become cumbersome to this world
I have become cumbersome to my girl
Too heavy, too light
Too black or too white
Too wrong or too right
Today or tonight
Cumbersome
Too rich or too poor
She's wanting me less and I'm wanting her more
A bitter taste is cumbersome
There is a balance between two worlds
One with an arrow and a cross
Regardless of the balance
Life has become cumbersome
Too heavy, too light
Too black or too white
Too wrong or too right
Today or tonight
Cumbersome
Too rich or too poor
She's wanting me less and I'm wanting her more
A bitter taste is cumbersome
Your life has become cumbersome
The wishes of the dead
Follow the light of the living
The freedom to breathe
Fights with the need to forgive
The longings of the heart
Can deepen our prayers against anger
But words unsaid and hurts remembered
Battle with our need to let the past go
Forgiveness can be difficult to reach
But the sweet silence of peace
Brings a balm to the soul
And a healing to the hereafter
*****
This simple wooden cross that marks the grave of a vicar of Glynde in Sussex, UK, who passed away in 1965 aged 84, was once a serving officer who joined the 1st Gurkha Rifles seeing service in India and Palestine during the Great War. He was invalided out of the army in 1923 and was eventually ordained at York Minster in England in 1932.
Alexander returned to India as a clergyman, serving as an Army Chaplain in Delhi during the Second World War. On returning to England he became at one time the Vicar of Glynde 1951-55.
The Inscription on the cross reads:
“In memory of Rev Lt Col: A.F. INGLIS. Vicar of Glynde 1951-55 died September 9th 1965 Aged 84 years.
Also his wife Anne 1888-1983.
His ashes, along with those of his wife, are buried under this simple cross in the churchyard at Glynde. He lies here with other war dead of the First World War.
What is so incredibly poignant, is that this memorial cross is carefully looked after, varnished and maintained against the weather, and has been all these years. On the anniversary of his death, there is often a posy of flowers laid at the foot of the cross.
For me, Alexander must have found a way to reconcile what he witnessed while serving as an officer and the forgiveness required as a clergyman. His faith must have been of great solace to him and such understanding that we are all humbled in the face of death meant that all he required was a wooden cross, rather than any other more ornate memorial, at the time of his passing.
To forgive we have to be humble. To be humble is to walk away from war and your pride and begin to truly live.
Never Forget.
And if you would like to see more of my work, have a look at my website at:
Bei Vierkirchen konnte ich am 24. Mai 2019 die auf die Initiativen der ÖBB in Sachen Klima- und Umweltschutz hinweisende 1016.020 mit dazu nicht ganz in Einklang zu bringendem Ladegut fotografieren. Es handelte sich dabei um Fahrzeuge aus dem Hause Volkswagen, die von ihrem Herstellungsort in Norddeutschland nach München Milbertshofen gebracht wurden.
On May 24th 2019, I was able to photograph 1016.020 near the Bavarian village of Vierkirchen. This locomotive refers to the ÖBB initiatives in the field of climate and environmental protection. But its cargo reconciled not completely. These were Volkswagen vehicles that were taken from their production site in northern Germany to Munich Milbertshofen.
Le marché central de la ville de Valence, en Espagne, est un édifice conçu en 1914 par les architectes barcelonais Alexandre Soler i March et Francesc Guàrdia i Vial, tous deux formés à l'Escola Tècnica Superior d'Arquitectura de Barcelona et collaborateurs de Lluís Domènech i Montaner (notamment concepteur du palais de la musique catalane), qui est caractérisé par un style propre dans les lignes du Art Nouveau valencienne.
Le projet du marché central prétendait concilier l'usage des grandes structures de fer dépouillées caractéristiques de l’Art nouveau. Après quelques inconvenues et modifications apportées au projet initial, les travaux furent terminés en janvier 1928 sous la direction d'Enric Viedma i Vidal
D'une surface de plus de 8 000 mètres carrés, il est riche d'allusions décoratives relatives aux produits des potagers, vergers et jardins de Valence. Sa structure, constituée de colonnes de fer rappelant la Tour Eiffel, de faïence et de vitraux, en fait une attraction architecturale à ne pas manquer.
Cette agora de la gastronomie valencienne compte plus de 1 200 stands dans lesquels se distinguent les fruits et légumes frais, avec comme protagonistes l'orange, la tomate et les haricots, puis les viandes, fromages, poissons et fruits de mer.
The Central Market (Valencian: mercat central; Castilian: mercado central) in the city of Valencia, Spain, is a building designed in 1914 by Barcelona architects Alexandre Soler i March and Francesc Guàrdia i Vial, both trained in 'Escola Tècnica Superior d'Arquitectura de Barcelona and collaborators of Lluís Domènech i Montaner (especially designer of the Palace of Catalan Music), which is characterized by its own style in the lines of Valencian Art Nouveau.
The central market project claimed to reconcile the use of the large, bare iron structures characteristic of Art Nouveau. After some setbacks and modifications to the initial project, the work was completed in January 1928 under the direction of Enric Viedma i Vidal
With a surface area of more than 8,000 square meters, it is rich in decorative allusions relating to products from the vegetable gardens, orchards and gardens of Valencia. Its structure, made up of iron columns reminiscent of the Eiffel Tower, earthenware and stained glass, makes it an architectural attraction not to be missed.
This agora of Valencian gastronomy has more than 1,200 stalls in which fresh fruit and vegetables stand out, with orange, tomato and beans as protagonists, then meat, cheese, fish and seafood.
Le marché central de la ville de Valence, en Espagne, est un édifice conçu en 1914 par les architectes barcelonais Alexandre Soler i March et Francesc Guàrdia i Vial, tous deux formés à l'Escola Tècnica Superior d'Arquitectura de Barcelona et collaborateurs de Lluís Domènech i Montaner (notamment concepteur du palais de la musique catalane), qui est caractérisé par un style propre dans les lignes du Art Nouveau valencienne.
Le projet du marché central prétendait concilier l'usage des grandes structures de fer dépouillées caractéristiques de l’Art nouveau. Après quelques inconvenues et modifications apportées au projet initial, les travaux furent terminés en janvier 1928 sous la direction d'Enric Viedma i Vidal
D'une surface de plus de 8 000 mètres carrés, il est riche d'allusions décoratives relatives aux produits des potagers, vergers et jardins de Valence. Sa structure, constituée de colonnes de fer rappelant la Tour Eiffel, de faïence et de vitraux, en fait une attraction architecturale à ne pas manquer.
Cette agora de la gastronomie valencienne compte plus de 1 200 stands dans lesquels se distinguent les fruits et légumes frais, avec comme protagonistes l'orange, la tomate et les haricots, puis les viandes, fromages, poissons et fruits de mer.
The Central Market (Valencian: mercat central; Castilian: mercado central) in the city of Valencia, Spain, is a building designed in 1914 by Barcelona architects Alexandre Soler i March and Francesc Guàrdia i Vial, both trained in 'Escola Tècnica Superior d'Arquitectura de Barcelona and collaborators of Lluís Domènech i Montaner (especially designer of the Palace of Catalan Music), which is characterized by its own style in the lines of Valencian Art Nouveau.
The central market project claimed to reconcile the use of the large, bare iron structures characteristic of Art Nouveau. After some setbacks and modifications to the initial project, the work was completed in January 1928 under the direction of Enric Viedma i Vidal
With a surface area of more than 8,000 square meters, it is rich in decorative allusions relating to products from the vegetable gardens, orchards and gardens of Valencia. Its structure, made up of iron columns reminiscent of the Eiffel Tower, earthenware and stained glass, makes it an architectural attraction not to be missed.
This agora of Valencian gastronomy has more than 1,200 stalls in which fresh fruit and vegetables stand out, with orange, tomato and beans as protagonists, then meat, cheese, fish and seafood.
Le petit clin d'oeil du dimanche 😉
“Sunday’s little wink 😉”.
Les ours polaires, comme les humains, ont leurs petits désaccords !!!
Ils grognent, se disputent, puis se réconcilient avec un câlin (ou un poisson partagé) …
C’est presque comme s'ils suivaient un manuel de psychologie conjugale… sauf que leur thérapie est plus efficace !
°°°°°°°°°°°
Polar bears, much like humans, have their tiffs !!!
They grumble, fight, and then reconcile with a cuddle (or a shared catch) …
It’s as if they’re following a relationship guide… but their therapy seems to work better !
Le marché central de la ville de Valence, en Espagne, est un édifice conçu en 1914 par les architectes barcelonais Alexandre Soler i March et Francesc Guàrdia i Vial, tous deux formés à l'Escola Tècnica Superior d'Arquitectura de Barcelona et collaborateurs de Lluís Domènech i Montaner (notamment concepteur du palais de la musique catalane), qui est caractérisé par un style propre dans les lignes du Art Nouveau valencienne.
Le projet du marché central prétendait concilier l'usage des grandes structures de fer dépouillées caractéristiques de l’Art nouveau. Après quelques inconvenues et modifications apportées au projet initial, les travaux furent terminés en janvier 1928 sous la direction d'Enric Viedma i Vidal
D'une surface de plus de 8 000 mètres carrés, il est riche d'allusions décoratives relatives aux produits des potagers, vergers et jardins de Valence. Sa structure, constituée de colonnes de fer rappelant la Tour Eiffel, de faïence et de vitraux, en fait une attraction architecturale à ne pas manquer.
Cette agora de la gastronomie valencienne compte plus de 1 200 stands dans lesquels se distinguent les fruits et légumes frais, avec comme protagonistes l'orange, la tomate et les haricots, puis les viandes, fromages, poissons et fruits de mer.
The Central Market (Valencian: mercat central; Castilian: mercado central) in the city of Valencia, Spain, is a building designed in 1914 by Barcelona architects Alexandre Soler i March and Francesc Guàrdia i Vial, both trained in 'Escola Tècnica Superior d'Arquitectura de Barcelona and collaborators of Lluís Domènech i Montaner (especially designer of the Palace of Catalan Music), which is characterized by its own style in the lines of Valencian Art Nouveau.
The central market project claimed to reconcile the use of the large, bare iron structures characteristic of Art Nouveau. After some setbacks and modifications to the initial project, the work was completed in January 1928 under the direction of Enric Viedma i Vidal
With a surface area of more than 8,000 square meters, it is rich in decorative allusions relating to products from the vegetable gardens, orchards and gardens of Valencia. Its structure, made up of iron columns reminiscent of the Eiffel Tower, earthenware and stained glass, makes it an architectural attraction not to be missed.
This agora of Valencian gastronomy has more than 1,200 stalls in which fresh fruit and vegetables stand out, with orange, tomato and beans as protagonists, then meat, cheese, fish and seafood.
Agli animi sensibili e ai buoni... a chi mi vuole bene ... ...a Donatella, che ha chiesto una foto con prati e montagne, ad Alessandra (tu sai perchè) e al mio grande, sincero, insostituibile amico Nuvola Bianca ... che io, pazientemente, aspetto.
felicità
su quale treno della notte viaggerai
lo so
che passerai
ma come sempre in fretta non ti fermi mai
Lucio Dalla
Prato Piazza (ted. Plätzwiese) è un passo alpino che mette in collegamento Braies e Carbonin ed è ad una un'altitudine di 1993 metri s.l.m. Presso il passo si estende l’omonimo famoso altopiano, sito all'interno del Parco naturale Fanes - Sennes - Braies (Dolomiti). L'altopiano si estende a un'altitudine di circa 2000 m ed è protetto dall'Unesco per via del prezioso ecosistema alpino e del panorama a cui permette di assistere. Dall'altopiano, infatti, oltre al Picco di Vallandro, è possibile ammirare la Croda Rossa , le Tre Cime di Lavaredo, la Tofana e il Monte Cristallo.
Se ci si trova in Alto Adige in primavera o in estate l'altopiano è un luogo da visitare obbligatoriamente; è raggiungibile tramite una strada asfaltata da Braies, mentre, da meridione, è raggiungibile tramite una strada sterrata da Carbonin.
Il mio consiglio è di lasciare l’auto a Ponticello (dalla SS 49 della Pusteria prendere per il lago di Braies; ben prima di arrivare al lago c’è un bivio per Ponticello) e prendere una navetta che vi porterà in vetta al pianoro (fidatevi, per camminare c’è tempo).
L’arrivo al valico erboso è di quelli che ti riconciliano con il mondo. L’altopiano, circondato da meravigliose montagne, è talmente verde da sembrare irreale. Un posto inondato dal sole, di pura natura, con due rifugi che permettono anche a chi non si è attrezzato precedentemente di poter consumare un pasto.
I più in forma potranno inoltre raggiungere la Vetta del Monte Specie, partendo dal rifugio Vallandro e seguendo la mulattiera austriaca segnata col numero 34. L’oretta di scarpinata verrà ripagata da una vista da mozzare il fiato !
Al ritorno, per Ponticello, si può scendere a valle seguendo uno stretto canalone, con tanto di ruscello in cui immergere i piedi per qualche secondo (non di più ! l’acqua è freddissima anche d’estate !).Io sono un membro della banda degli onesti !
Prato Piazza (ted. Plätzwiese) is a mountain pass that connects Braies connection and Carbonin and is at a height of 1993 meters s.l.m. At the step extends the famous plateau of the same name, located in the Natural Park Fanes - Sennes - Prags (Dolomites). The plateau extends to an altitude of about 2000 m and is protected by UNESCO because of the precious Alpine ecosystem and the landscape that allows to assist. From the plateau, in addition to Dürrenstein, you can admire the Croda Rossa, Three Peaks, Tofana and Monte Cristallo.
If you are in South Tyrol in spring or summer, the plateau is a place not be missed; It is reached by a paved road from Braies, while, from the south, is reached by a dirt road from Carbonin.
My advice is to leave the car at Ponticello (from SS 49 Pusteria take to Lake Braies, well before reaching the lake there is a junction for Bridge) and take a shuttle to take you to the summit of the plateau ( trust me, there is time to walk).
The arrival at the grassy pass is one that will reconcile people with the world. The plateau, surrounded by mountains, is so green that it seems unreal. A place bathed by the sun, pure nature, with two shelters that allow even those who have not previously equipped to be able to have a meal.
On your return you can return to the valley along a narrow gully, complete with a stream in which soak your feet for a few seconds (no more! The water is very cold even in summer!).
I specify that I have never used gimmicks to increase the number of views.
Also, I don't change from hour to hour the loading time of my photos to get more visits to the detriment of other flickers.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
This is why beach is so sentimental to me. So many feelings attach to it...off course a great one. Its a place to reconcile, place to think, to be inspired & to renew your love . To my Honey...thanks for always being there for me..including freezing for this 30 sec shot!!hahaha..Luv U always.
Teddy Swims - Some Things I'll Never Know :::
Walking down the street last night
Watching strangers pass me by
Where do all our shadows go
I guess some things I’ll never know
I can fool my senses for a little while
But some things are too hard to reconcile
When I look into your eyes
There’s no answers I can’t find
It’s a feeling that I’ve never known
When I’m wide awake tonight
Running circles in my mind
There’s an answer I can’t find
When did your heart let me go
I guess some things I’ll never know
I guess some things I’ll never know
I’m running out of avenues
Cause every road leads back to you
When memories fade, where do they go
I guess some things I’ll never know
the story of Prophet Adam eating the forbidden fruit (khuldi) is widely interpreted as a combination of God's plan and human free will.
1. Evidence of God's Plan
Scholars point to several indications that Adam's descent to Earth was pre-ordained:
Initial Purpose: Before Adam was even created, God announced to the angels his intention to place a "successive authority (Khalifa) on earth". This suggests that living in Paradise was a temporary stage and Earth was always the intended destination for humanity.
Divine Foreknowledge: God, being all-knowing, was aware that Adam would succumb to temptation.
The Lesson of Repentance: The event served as a crucial lesson for mankind on how to handle mistakes. By allowing Adam to sin and then teaching him the words of repentance, God demonstrated His attributes of mercy and forgiveness.
2. Evidence of Free Will
While the outcome was known to God, the action was still a choice made by Adam:
Lack of Compulsion: God did not force Adam to eat the fruit. He provided a clear warning and permitted Adam and Eve to enjoy everything else in Paradise.
Human Agency: Adam possessed aql (intellect) and the ability to choose between obedience and disobedience.
Nature of the Act: The Quran notes that Adam "forgot" the commandment or was deceived by Satan's false promises of immortality, highlighting human vulnerability rather than a robotic execution of a script.
3. Reconciling the Two
The reconciliation lies in the concept of Divine Decree (Qadar):
Fate vs. Choice: In a famous hadith, Prophet Adam responds to Moses’s blame by stating that his mistake had already been written in his fate before his creation.
Conclusion: Scholars argue that while Adam acted according to his own free will, God’s wisdom incorporated those free choices into a larger, pre-determined plan for humanity to reside on Earth as His vicegerents.
Ce minuscule village de 40 habitants est blotti contre la montagne du Luberon, entre Bonnieux et Apt au milieu de grands espaces sauvages.
Une belle petite route sinueuse vous amènera au village et seulement là, à Sivergues, Sivergues n'est pas un lieu de passage : on va à Sivergues pour Sivergues, après Sivergues il n'y a que des sentiers pédestres qui vous conduiront sur la montagne du Luberon.
Vous aurez un peu l'impression d'arriver dans un village du bout du monde... Amoureux de la nature, du calme et de l'authentique, Sivergues vous réconciliera avec le vrai Luberon...!
Vous n'y découvrirez pas beaucoup de terrasses de café ni de restaurant, ce calme vous reposera et vous pourrez marcher tranquillement dans les quelques rues du village.
This tiny village of 40 inhabitants is huddled against the Luberon mountain, between Bonnieux and Apt in the middle of wild wilderness.
A beautiful little winding road will take you to the village and only there, in Sivergues, Sivergues is not a place of passage: we go to Sivergues for Sivergues, after Sivergues there are only footpaths that will take you on the mountain of the Luberon.
You will have the impression of arriving in a village at the end of the world ... In love with nature, quiet and authentic, Sivergues will reconcile you with the true Luberon ...!
You will not discover many terraces of coffee or restaurant, this calm will rest and you will be able to walk quietly in the few streets of the village.
"There's only love that's strong enough
To rescue us from self-destruct
You don't think so, but we're all the same
You don't think so, you've got skin in the game
We're in sync so we're afraid to change
That's just how it is
My brother's mad at me, our room's a tomb of dead canaries
I'm right, why can't he see right to the bitter end
My God, what's-his-name, says your God is just calamari
My God's new to this game, she don't know who to blame
You don't think so, but we're all the same
You don't think so, you've got skin in the game
We're in sync so we're afraid to change
That's just how it is
We're born, so we die
We see lives entwined
You see differences
All walls fall over time
We're here
To reconcile our hearts
All walls fall over time
Reconcile our hearts
There's only one human race
Many faces, everybody belongs here
James: youtu.be/WS5FrkLy3c0?si=mKJPJn4UxHauPe29
For the 21-day photo challenge in order to celebrate Flickr's 21st birthday!
Day 20: Community
The whole album: www.flickr.com/photos/a_life_shot_in_blackandwhite/albums...
This bird showed up one day with an adult, and the two spent a week or so exploring the best fishing spots on the lake. Many great images were secured in the early days of their visit by some keen birders/photographers, as the birds boldly pursued young catfish and ignored people with cameras.
And then the adult’s ‘it’s time to get moving south’ instincts kicked in, and it was gone. The juvenile, distinctive in a number of ways including not being pied-billed, hung around for a couple more weeks on its own. Feeding wasn’t a problem: there are some shallow warm pockets in the lake that the catfish hang out in until quite late. It became more elusive,or reclusive, and so one had to be out pretty early to find and photograph the bird. I am lying on the roots of a tree, hidden behind a stump, out almost in the water. The bird glanced in my direction as I took this, and then continued fishing.
I am always a bit uncomfortable with these opportunities. The questions were twofold: was the bird aware of the risk posed by the Hawks that hung around the lake, and would it escape them?; and would it eventually get going south before the lake froze over?
One of the challenges posed by these surprise visitors is the recognition that it may be the case that you are having a chance to photograph the bird because it is failing to engage in some species-specific behaviour, a failure that will ultimately be fatal.
The messiness of migration and reproduction often overlap, and the success rates for most birds are brutally low. Even the Hawks are lucky to see one in ten young survive three years. It is just nature, but it is harder reconcile when a relative oddity shows up, at least for me.
Roses and Desires was inspired by Be My Mannequin? Pose Store's pose: Every Breath You Take. Its an excellent sit/lay type of pose and the hand positioning gives you lots of options to work with. Go DEMO it in the Be My Mannequin? main store (Sit section!) or check it out on Marketplace! You won't be disappointed.
~~~
I know you've suffered
But I don't want you to hide
It's cold and loveless
I won't let you be denied
Soothing, I'll make you feel pure
Trust me, you can be sure
I want to reconcile the violence in your heart
I want to recognize your beauty's not just a mask
I want to exorcise the demons from your past
I want to satisfy the undisclosed desires in your heart
You trick your lovers
That you're wicked and divine
You may be a sinner
But your innocence is mine
Please me, show me how it's done
Tease me, you are the one
I want to reconcile the violence in your heart
I want to recognize your beauty's not just a mask
I want to exorcise the demons from your past
I want to satisfy the undisclosed desires in your heart
Please me, show me how it's done
Trust me, you are the one
I want to reconcile the violence in your heart
I want to recognize your beauty's not just a mask
I want to exorcise the demons from your past
I want to satisfy the undisclosed desires in your heart
~Muse - Undisclosed Desires
timeline.
2004
The scar is a deeper level of reconstruction that fuses the new and the old, reconciling, coalescing them, without compromising either one in the name of some contextual form of unity. The scar is a mark of pride and of honor, both for what has been lost and what has been gained. It cannot be erased, except by the most cosmetic means. It cannot be elevated beyond what it is, a mutant tissue, the precursor of unpredictable regenerations. To accept the scar is to accept existence. Healing is not an illusory, cosmetic process, but something that -by articulating differences- both deeply divides and joins together.
Lebbeus Woods
Sometimes we forget in the moment that there are obstructions in our view & we miss the shot we intended. Half of the owl (the part cropped) is photobombed by a fence post. Sometimes these are the shots we think about as we drive home and into the next day, trying to decide how to salvage it if we can. I had such a memorable morning watching this lovely owl hunt that I decided to try something with the photo. Win some, lose some, reconcile some, heavily crop some…guess it is what keeps us going back out again to try for another chance (which I look forward to).
Europe, Rotterdam, Rotterdam Celebrates the City festival, Market, The view ferriswheel, Po-mo high rise (slightly cut)
Rakish lines reconcile two very very different architectural traditions here - the modernist ones of the Ferris wheel and the post-modern ones of the apartment high rise in the BG.
Shot during the ‘The Rotterdam celebrates the city‘ festival in 2016 Rotterdam celebrates the city (Rotterdam viert de stad). It was a cultural event about the celebration of 75 years of reconstruction (after the destruction of the city centre in WW2). The View Ferris wheel: its height is 55 m and it has a capacity of 336 ‘passengers’.
This is number 1152 of Minimalism / explicit graphism
The past is a gentle ripple, spreading out across time, its origins fading but its echoes still felt. Each moment left behind is like a soft light glimmering on the surface of memory—both present and distant, beautiful yet untouchable. These reflections of "what was" remind us that the past is not a place we can revisit, but a story we carry within us, shaping our paths forward.
In the stillness of the present, there is an opportunity to pause. The lessons of yesterday rest quietly beneath the surface, offering their wisdom if we dare to look. The present becomes a mirror, where the line between remembrance and reality blurs, and we see fragments of who we were in who we are.
"Past Tense, Present Reflection" invites us to reconcile those ripples and rays of memory with the now—to honor the echoes without being pulled under by their current. It is a call to embrace the stillness, to watch the interplay of light and shadow within ourselves, and to find peace in the seamless union of then and now. For in that unity lies the serenity of understanding who we’ve been and who we’re becoming.
maps.secondlife.com/secondlife/Golden%20Village/187/243/21
Landslide - Fleetwood Mac
Am Samstag war es leider hauptsächlich grau. Gleich ZWEI Cafes am Barmstedter See hatten geschlossen aber diese Himbeertorte hat hat mich mit dem Tag versöhnt :-)
Unfortunately, it was mostly gray on Saturday. TWO Cafes were closed at lake Barmstedt, but this raspberry cake reconciled me with the day :-)
Two Temple Place is one of London's hidden architectural gems. Completed in 1895, this stunning neo-Gothic mansion was built for William Waldorf Astor. Originally known as the Astor Estate Office, it had a residential flat above the offices for Viscount Astor's use (Pevsner). It consists of two floors and a lower ground floor and is designed after the Early Elizabethan style. It is built entirely of Portland stone. The exterior stonework features splendid carvings by Nathaniel Hitch
Above the machicolated parapets is a weather vane, representing the caravel Santa Maria in which Columbus sailed to America. The intention was to symbolize the connection of the path of discovery of his ancestor John Jacob Astor and the linking of United States and Europe.It was executed by J. Starkie Gardner, the English metal worker, who was responsible for all metalwork inside and outside the building.
John Dibblee Crace, one of a family of interior decorators, decorated the interior of Two Temple Place for Astor in the style of French Renaissance from about 1892 to 1895.
From
spitalfieldslife.com/2023/12/05/at-two-temple-place-i/:
Standing at the foot of the staircase, you understand why Astor felt “safe,” in the sense that you are entirely enclosed by the wood-lined room which permits no window to the outside world. Comprising a square stairwell, the space rises to an enclosed gallery with arches similar to those in engravings by Esher.
At each corner of the stairwell stand Astor’s favourite protagonists from novels – Hester Prynne, Rip Van Winkle, The Pathfinder and The Last of the Mohicans – characteristically, all are outsiders who are misunderstood. Above them is a Shakespearian frieze with eighty-two identifiable characters from Anthony & Cleopatra, Henry VIII, Othello and Macbeth, significantly chosen as plays that dramatise the torments of power. Yet, remarkably, the proportion and order of the space, the lustre of the materials and the expertise of the workmanship place everything in perspective – the chaos of human endeavour is reconciled within this sanctuary of the imagination.
Astor’s private office is equipped with both a secret door and discreet drawers for the storage of champagne, the latter hinting at a brighter side to his nature. Through the secret panel is the largest room in the building, known as The Great Hall or The Mediation Room, where Astor summoned those he chose to do business with. I was told that Pencil Cedar was chosen for the panelling in this room, emitting a relaxing aroma calculated to dispel any tension, yet such is the grandiose nature of the seventy-foot long hall, I doubt anyone would seek controversy in the face of its creator.
At either end, stained glass windows portray the rising and setting sun while the epic mahogany hammer-beam ceiling above is modelled upon the design of the roof in Middle Temple Hall, a wooden frieze depicts a mixture of personalities from history and myth, including Bismarck and Pocahontas, and characters from Ivanhoe perch upon the beams – gilded, just in case you might fail to notice them in the flurry of literary references. Once the time comes to leave, overwhelmed by the wealth of detail, your eye falls upon the Arthurian heroines by George Frampton languishing upon the rear of the door.
Bagan - Myanmar
Nirvana
Myanmar Workshop 2015
I really hope many will and had enjoyed viewing my most recent December 2015 Photography Workshop held in-conjuction with my Myanmar's Project.
Arriving Myanmar is truely a renewer chapter of my unbelievable yet a practical fantasy with substantial mixture blended with bitter, tiny sour and gradually evolve into sweetest favour of fondest memories....with every single moment mainly longing forward to the next episode of breathtaking sunrise if not sunset. Is awfully one of my most exciting yet realsitic photography journey to reconcile and recognise with the magnificent nature God initially created that I had fairly long took for granted in our bustling city lifestyle. Many of the little unnoticed mixture of varies wonders just took place nicely once more, the fresh air particles we miss breathing into our lungs, awesome light and magical rays co-exist harmoniestly on such a rare balancing earth now nowhere to be found if my absent of weakening knowledge can fully disagree or even agree !- Inle Lake .
., Please feel free to join me again for my future Myanmar's Photography trip before this mid 2016.
Webb Bridge, 2003.
The winning submission for the sculptured Webb Bridge came from artist, Robert Owen in collaboration with Denton Corker Marshall, architects. The design developed out of a desire for a symbolic and poetic demonstration of reconciliation and indigenous history provided a source of its inspiration.
The bridge is an analogy of Koori fishing traps and the gestural flow of the river below. The decommissioned rail bridge, symbol of European culture, is reconciled with the natural and indigenous past. The resulting structure suggests a new link between the old and new, past and future. A pedestrian/cycle bridge crossing the river Yarra within Melbourne Docklands, the scheme is not only a practical solution to the physical site, conditions and program requirements, but also demonstrates the Docklands Authority commitment to art and innovative architecture in the development of the precinct. As such, the project addresses aesthetic, historical and symbolic issues as integral components of its design.
Webb Bridge won the prestigious RAIA Joseph Reed Urban Design Award 2005 and commendation for Urban Design in the National Awards.
-Artificial intelligence “image generators” give everyone the opportunity to be creative, and thanks to their abilities, millions of people have this experience. But there is confusion and new questions. As the artistic prowess of artificial intelligence emerges, it raises questions we haven't encountered before about what it means to be human. Some consider AI products to be works of art, while others object. I evaluated the facts analytically in terms of art philosophy and wrote my ideas in this article.
Below is the article I wrote about art, artist concepts, can artificial intelligence make art, analysis of human art and artificial intelligence products.
*
AN ANALYTICAL PERSPECTIVE ON THE "ART" ADVENTURE OF HUMANS AND ARTIFICIAL INTELLIGENCE
The concept of "art" is the field of creativity, the only feature of being human. As the artistic prowess of Artificial intelligence emerges in a fast-moving world, it raises questions we've never encountered before about what it means to be "human". What kind of a period will "art", which is the result of human concepts such as existence, society, communication, subconscious, emotions, imagination, intuition, love, sensitivity, impulse, instinct, dream, originality and of course, creativity, enter into a period with Artificial intelligence (AI)? With its revolutionary technology that will change production, thinking, lifestyles and the future, will artificial intelligence, which is designed to replace people in other fields of activity, be more creative than humans in the field of art and reach the competence to challenge the artist?
According to Hegel, art carries the spirit of the artist, who is transferred to matter and likens matter to himself. Well, since the products created by machines without a soul today are not generated by an artist, can they carry spirit and meaning?
For years, computer technology has already made an impact and contribution to visual arts with image technologies such as vector, bitmap, 3D, CGI as a tool that creates, processes and changes the image. Today, many smart image generators such as Stable Diffusion, DALL-E, Craiyon, Midjourney, Nightcafe Ai, etc. are software systems that can statistically evaluate themselves over large datasets containing millions of images, train themselves, and produce new images that are not included in the original dataset. Not just images, AI is already being used in other branches of the arts to create music, poetry, sculpture, stories, articles and films.
There are many new questions and concepts such as whether the products created by a system that has human skills but is not human are real works of art, whether programmers and machines will be accepted as artists, whether AI products can be included in the broad and general definition of art. Although there are objections, acceptances, doubts, different opinions, it has been met with great interest by the majority.
First of all, it is necessary to talk about the concepts of “Art” and “Artist”. In its most general definition, art is a reflection of the human mind and cultural evolution, an expression of creativity, way of thinking and imagination. The artist, on the other hand, is the one who makes art with the awareness of "being human", humanizes and shapes life, and realizes the phenomenon of art with action. The artist combines facts with aesthetic elements from a different point of view and records them in social memory. Behind his creative works lie deep stories of man, his age and society. He uses his imagination, patience, enthusiasm and self-sacrificing efforts to embed his passions, memories, dreams, imaginary and abstract ideas, symbols, philosophy and his inner world, the dynamics of the era and society he lives in, with aesthetic expressions. The process of creating the artist's art is complex and difficult, while filtering everything he is affected by and incorporating it into his works. He feels both sadness and happiness most deeply, and experiences his anxiety and pleasure at the highest level.
Art originates from life and human beings and belongs to humans. “Art is an object made by man for man. “ (E.H.Gombrich, The Story of Art) This is a very accurate definition and “Art” is based on a human-made phenomenon that takes its source from the human artist and seeks meaning with its historical, social accumulation and imagination; existence occurs in the unity of human, artist, meaning, aesthetic object and aesthetic taste. In this respect, there is a deep bond of existence between man, art and work of art that complements each other.
The artist searches for the meanings behind artistic intentions and desires and vital phenomena. Since AI is not a living, emotional being, it lacks imagination, the reality of its external world, and the qualities of being human. Unfortunately, those who claim in advance that the products of AI are art, underestimate the artist who realizes the thousands-year-old deep source of art and the artistic production process, and find it unnecessary to question the artist's effort and necessity. Decisions made by those who do not know the depth of the creative process, without entering the enthusiastic world of an artist, are in favor of accepting and affirming AI products without questioning them. We see that the capitalist world, which wants to benefit from the stimulating effect of the trade created by AI products, has great expectations to use this situation in its favor and turn it into money.
The production process of AI is formed by the combination of computer, programmer, data, algorithm, output, aesthetic taste of the receptive subject. Since AI does not perform its actions by focusing on aesthetic values, aesthetic harmony and meaning, the output it produces is only a sensory, aesthetic value uncertain, non-essential, formal object. Because it lacks the subjective point of view and the values of the special creation process in the mind of an artist. The software, which does not take its source from the human mind, does not have emotions, and produces from ready-made data, has the potential to produce likeable outputs. It can even produce outputs, albeit rare, that, by chance, can give aesthetic pleasure and cause emotional and artistic excitement in people. Again, it is the receptive subject himself who adds artistic value to such an output with his artistic disposition, education and dreams. Because, while the output is devoid of a communication basis, an expression to be conveyed and has no artistic value, the perception style, psychological orientation and point of view of the receptive subject who establishes the communication raise the output to the value of an object that gives aesthetic pleasure. The receptive subject participates in the process with its level of perception of the object, aesthetic judgment and creativity, and needs the qualities of its own self and visual capacity. With a subjectivist attitude, he takes the artistic value not from the object but from his own psychology, customizes the object with his own emotions and attributes a meaning to the output. What makes the output of AI valuable is not the qualities of the aesthetic object formed by the activity of an artist, but the way of seeing of the receptive subject.
The work of art is a human creation, the creative subject is the artist. The artist produces by adding meaning to his work, and the visible form has a meaning integrity, a unity of form and content. In his work, the artist formally expresses a reality about life in his work. That is, the meaning is not added after making the work, and the meaning exists as a substance in the mind of the artist before the work takes shape. In the work, the expression to be conveyed without communicating with the receptive subject is already present and ready; all this is hidden in the work as a reality and waits to be seen by a competent receptive subject. This is the process of discovery of the work of a spirit that repeats the aesthetic creation formed in the artist's soul. The receptive subject, who judges the output of artificial intelligence, lacks the pleasure and effort of creating, perceiving and recreating the expression level of the artist, that is, the human being. Because understanding and making sense of a work of art requires an effort like the creativity of the artist.
E.H. “We cannot hope to understand a work of art if we do not have the ability to share that sense of liberation and triumph that the artist has over his finished work,” says Gombrich.
We see that while art is realized with the connection of the artist, the work (aesthetics) and the receptive subject (aesthetic interest), the process in the AI product takes place with the connection of data, algorithm, object (sensory) and receptive subject (aesthetic interest).
Human art is the aesthetic relationship between man and objective reality and includes artistic reality. Its source is life, human, society, created by the artist, it focuses on the whole process and is holistic. It is based on the reproduction of the aesthetic values that the artist brings to the object by the receptive subject, the connections and interaction with the aesthetic judgment. It is directly and tightly connected to human practice, society and social life. The work of art is personal, original, and the artist has a compositional knowledge and skill that will require much more than repetitions, different blending and attachment techniques in AI output. In a way that takes its origins from life and focuses on the soul and meaning, art considers beauty as a unity of values. Like artificial intelligence, it focuses not only on the result, but also on the whole process, and this is what we need to distinguish.
Although AI is capable of creativity, this does not mean that it is an artist. Likewise, neither a programmer nor an algorithm is an artist. Because their production is outside of the vital, emotional, spiritual and meaning integrity we have explained above, they produce automatically and with commands. The algorithm does not create the object by considering artistic values, qualities and concerns, that is, the algorithm is not aware that it is dealing with art, so it is not conscious of reality. It scans the database and generates predictive compositions with the ability to fuse, add, subtract, associate and learn.
Artificial intelligence products can only be at the limit of the general definition of art. The creation process is automatic and is not identical with human art with the layers of existence it has; the source, formation and result are realized by a completely different method. Therefore, it is a phenomenon of experimental production that, although it is ostentatious and surprising, is not competent, imitates art as a form, its essence is incomplete, although it gives the impression of art.
Based on the context of reality, the search for meaning, the layers of existence and the social source of life, it would be appropriate to call it "Human Art" because it represents human beings, and "Artificial Intelligence Art" because it is created by codes. Because we cannot see artificial intelligence, which enters art as a separate actor, as if it is making productions of the same value as human beings and art. What makes human art valuable is that it tells its own story and the struggle for existence with the accumulation of thousands of years of creation process.
As AI enters more and more scientific, everyday and artistic and human fields, we have to make the rules, boundaries and definitions of human domain, arrangements, positioning and criticisms that include what human being is, to remain "human". The important thing is to create and place concepts that will preserve the depth, value, originality, creativity and freedom of the human domain. While doing this, we should determine the roles by defining the field that artificial intelligence, that is, the machine can have. For this reason, the categorical distinction was made as "Human Art" and "AI Art" because it was based on codes. To make both the same, to say that both achieve similar goals in different ways, is a disrespectful, unfair approach to art and the artist and should be objected to.
Of course, AI will enable artists to create new and original products through collaborative work as a resource to benefit from. With artificial intelligence in artistic creation, the artist can expand his creativity, get inspired, try new things, and also think of artificial intelligence as a collaboration tool. Even if the artist is involved in the creation process of the products created by this collaboration, even if he has the initiative, the use of AI based on the source codes will bring about discussions.
The approach to artificial intelligence products will also mean the sincerity exam of people. The artist and no one should not escape easily, and try to show stolen ideas or directly as his own work. It should not make an effort to reflect worthless products as if they are valuable.
Deciding whether the output has value and the quality of its connection with the art means reaching the big problem area in art. A wide variety of factors should be taken into account while making an aesthetic interpretation. Knowing who the work belongs to is also a factor that will affect our decision. Interpreting a work that is not clear by whom it was generated may cause exaggeration or vice versa, underestimation and incompleteness. Evaluating an object as artistic and beautiful is relative (apart from reconciliation with assumptions that make aesthetic judgment general and based on common feeling) and is difficult, but this is a mysterious and normal state of art.
Artificial intelligence will be an encouraging and supportive force with its ease not only for artists, but for everyone. In addition, the copyright problem of the entries that make up the database should be solved, and the rights of the artist and everyone else who does not want to be in the database should be respected.
It should never be forgotten that; The importance of painters and painting did not decrease with the invention of photography, the transformation of smart phones into talented cameras did not turn everyone into a photographer, AI cannot turn anyone into miraculous and fantastic artists, nor transfer talents.
While the subject is being discussed, painting is generally focused on because of its popularity. But how do we react when AI produces an image with details and visual quality indistinguishable from a real photograph? Especially when we compare it with documentary photography, the situation will become more complicated. At this stage, the values shaped in our aesthetic, emotional and imaginary world, which we judge the paintings, will not be enough. We will need to ask whether the photograph is based on objective reality, and we will build our judgmental values after the definition of reality. Because, as a document, that photograph is real, it reflects the state of the world while connecting the lived past to the future, it has a place and a story, it is direct, it is a human and social memory and transfers it to other generations. The photograph created by AI has no story, it only depicts unreal scenes with automatic editing, and the composition is created only with the ability to imitate. Such a photograph will not go beyond an image that only arouses technical admiration before the viewer. For this reason, I think that unmanipulated and documentary photography will become more valuable in the future. Because it will never lose its value as a tool that reflects reality and directly reflects events.
Can you consider William Turner's painting "The Slave Ship" separately from the historical, social, reality of the outside world and the dynamics of the artist's inner world? This painting is not just a painting, it is a work that has meanings far beyond the painting. Now let's imagine that a similar picture is generated by artificial intelligence. Even if pictorial values, light and composition are used appropriately, what historical, artistic, cultural, emotional value can it have? In other words, in the background of art, there are stories of life and a context, while artificial art has nothing to tell, it is a storyless phenomenon that is disconnected from the context of reality, as a product of a system under the control of virtual codes, and has no history.
In today's society, communication habits have changed, the world of possibilities has grown, and even magicalized. AI "image generators" give everyone the opportunity to be creative, and thanks to their amazing ability, they make this experience available to millions of people. Even a child who has learned to read and write can accidentally create remarkable products in front of his computer. It does not make anyone who can write keywords to the computer and who does not have artistic personality and creativity an artist and does not include them in art. Millions of people are attracted to this attractive game without age limit and are entertained by its amazing and strange results, as if they have achieved a magical power. It is more accurate to call them "experimental participants". It is a fact that outliers, complex, uncertain, surreal, mystical, imagination-stimulating images attract a lot of attention. Friedrich Schiller and his theory that art is a game come to mind. But in his theory, Schiller meant real art. Besides, art is a much more complex phenomenon than play.
Although the outputs are strange, unencountered, interesting and attractive, as they multiply uncontrollably in the internet environment, they have a high potential to turn into habitual, valueless, artificial, ordinary objects.
It is human beings who will stand against the destructiveness of technology and protect humanity. Being human, despite your shortcomings, is unique. Do we have the human intelligence, virtue, honesty, will, courage and plan to use the future to be a better human being “together” and to create a world based on beauty and equality? While AI becomes human, we never want a role change where people become automatic, ineffective and robotic.
Man interprets and makes sense of life with his art, resists against time, and transfers his relationship with life to the art environment in freedom with his searches and discoveries. Art is formed in reality through "labor" by the artist. All innovations and technological changes should never be allowed to trivialize art and artists. Because Artificial Intelligence lacks the human touch, love, impulses and, in short, a life.
Einstein said, "The criterion of being intelligent is not knowledge but imagination," and reconciling human imagination with intelligence.
Akil Alparslan / 01 2023
The Central Market of Valencia is a modernist style building, designed by the architects Alexandre Soler i March and Francesc Guàrdia i Vial in 1914, both trained at the Barcelona School of Architecture and collaborators of Lluís Domènech i Montaner, that made the palace of Catalan Music and that was characterized by a style of its own within the lines of modernism.
The project for the Central Market in Valencia aimed to reconcile the use of large bare iron structures with the Art Nouveau style. After some disagreements and some modifications to the initial project, the works were finished in January 1928, under the direction of Enric Viedma i Vidal
Excerpt from the plaque:
When you walk into the room by Joon Hee Kim: My work explores human existence by examining and reconciling diverse identities and heritages, as well as reflecting on the persevering burden of human relationships, and my mysterious aspects of life.
It’s navigating into culture’s transformation of object into new visual language and a relevant tool to measure human existence and absence.
Romans 5:10 “For if while we were hostile to God we were reconciled to Him through the death of His Son, it is still more certain that now that we are reconciled, we shall obtain salvation through Christ's life.”
Louis Riel, Metis, was a founding father to our province of Manitoba. Near the Red River at the back of our legislative building, Louis Riel's statue faces the river, he was executed on November 16,1885. His is a story of sacrifice for the love of his people and country... we are now trying to reconcile the wrongs and to move forward in unity...
Ephesians 4:4 As a prisoner for the Lord, then, I urge you to live a life worthy of the calling you have received. 2 Be completely humble and gentle; be patient, bearing with one another in love. 3 Make every effort to keep the unity of the Spirit through the bond of peace.
Le marché central de la ville de Valence, en Espagne, est un édifice conçu en 1914 par les architectes barcelonais Alexandre Soler i March et Francesc Guàrdia i Vial, tous deux formés à l'Escola Tècnica Superior d'Arquitectura de Barcelona et collaborateurs de Lluís Domènech i Montaner (notamment concepteur du palais de la musique catalane), qui est caractérisé par un style propre dans les lignes du Art Nouveau valencienne.
Le projet du marché central prétendait concilier l'usage des grandes structures de fer dépouillées caractéristiques de l’Art nouveau. Après quelques inconvenues et modifications apportées au projet initial, les travaux furent terminés en janvier 1928 sous la direction d'Enric Viedma i Vidal
D'une surface de plus de 8 000 mètres carrés, il est riche d'allusions décoratives relatives aux produits des potagers, vergers et jardins de Valence. Sa structure, constituée de colonnes de fer rappelant la Tour Eiffel, de faïence et de vitraux, en fait une attraction architecturale à ne pas manquer.
Cette agora de la gastronomie valencienne compte plus de 1 200 stands dans lesquels se distinguent les fruits et légumes frais, avec comme protagonistes l'orange, la tomate et les haricots, puis les viandes, fromages, poissons et fruits de mer.
The Central Market (Valencian: mercat central; Castilian: mercado central) in the city of Valencia, Spain, is a building designed in 1914 by Barcelona architects Alexandre Soler i March and Francesc Guàrdia i Vial, both trained in 'Escola Tècnica Superior d'Arquitectura de Barcelona and collaborators of Lluís Domènech i Montaner (especially designer of the Palace of Catalan Music), which is characterized by its own style in the lines of Valencian Art Nouveau.
The central market project claimed to reconcile the use of the large, bare iron structures characteristic of Art Nouveau. After some setbacks and modifications to the initial project, the work was completed in January 1928 under the direction of Enric Viedma i Vidal
With a surface area of more than 8,000 square meters, it is rich in decorative allusions relating to products from the vegetable gardens, orchards and gardens of Valencia. Its structure, made up of iron columns reminiscent of the Eiffel Tower, earthenware and stained glass, makes it an architectural attraction not to be missed.
This agora of Valencian gastronomy has more than 1,200 stalls in which fresh fruit and vegetables stand out, with orange, tomato and beans as protagonists, then meat, cheese, fish and seafood.
Perhaps this is the nature of life. With greater experience comes a diminished sense of fantasy. However, one can reconcile the hardships of reality with genuine happiness.
Take from me humility.
"I must forge my own path, beyond the confines of my station and the weight of my regrets."
Tove is a noble fighter from Waterdeep who left house Amcathra to seek fortune and glory in the life of a mercenary. Now aged past the middle years, she has returned home to reconcile her choices and meet her final goal - a death worthy of remembrance.
Met her and many other characters at the D&D sim, Chronicles of Waterdeep.
Avatar: Ash Back
Sim: Envision (The Chronicles of Waterdeep)
Avatar:
Body: Maitreya
Head: Genus - Strong
Lipstick: Mudskin - Miko Shin Do Lip #3
Eyes: Lotus - Juicy (16 - Rare)
Hair: Tram - J0225
Wrinkles: Izzies
Outfit:
Laurel: PFC - Glory Laurels
Neck Plate: Krova - Bevor 5
Shoulder Plate + Wrap: PFC - Commander
Body Armor: TSC - Battle Warden
Glove 1: PFC - Warrior Blood
Sleeve 1: PFC - Punk Arm
Sleeve 2: PFC - Iron Arms
Sword: PFC - Trusty Steel
Coin Sack: PFC - Money Pouch
The Holly Fae arrives with the first snow, wings shimmering like stained glass, evergreen boughs woven through her silver hair. She brings the Spirit of the Season—but only to those she deems worthy.
Her smile is radiant, her touch gentle as falling snow. Children adore her. Adults whisper of miracles: reconciled feuds, unexpected kindnesses, hearts softened like winter ice beneath spring sun.
But they don't speak of the others. The ones who turned bitter when offered joy, who clutched their grievances tight, who refused the gift of goodwill.
Their homes grow cold despite roaring fires. Their laughter rings hollow. Their feasts taste like ash.
Even the prettiest flower can be deadly. The Holly Fae brings Spiritual Judgement, and her berries are poisonous to those who will not embrace the season's grace.
She smiles, beautiful and terrible, as snow continues to fall.
“I am writing these lines from an exuberance of life and a yearning to live; they are written to express an impassioned vision of the earth, and in an attempt to find a solution for the doubts that beset my action-because I love the universe, its energies, its secrets, and its hopes, and because at the same time I am dedicated to God, the only Origin, the only issue and the only true term. I just want to express my love of matter and life, and to reconcile it, if possible, with the unique adoration of the only absolute and definite Godhead.”
-Pierre Teilhard de Chardin, The Making of a Mind , p. 23/ 24 Opus Cit
Actus Tragicus (2013) by Folkert de Jong
- The title is based on a Bach cantata in which the composer tries to reconcile the listener with death.
- A painting by Pieter Bruegel symbolising the clash between absurdity and fate also served as inspiration.
^)(^ SORRY: I have to "slow down" (probably fewer photos, fewer input in groups, fewer comments and slower responses, etc.) for the next coming weeks, because we renovate our house ♫♪
I am very sorry about possible inconveniences ...
2020 is a special year in the history and for many of us, we are here witnessing how uncertainty can change our life, physically and mentally, economically and even environmentally. We learn to cherish more, a caring talk with people around us, a smile, a hug, or even a deep breath of oneself.
For me, 2020 will definitely be an unforgettable year. I have met people that open my eyes and my heart, I have learned to love again, and to truly love by setting free of whom I love, though it may sound quite foolish...Most importantly, to forgive myself for being who I truly am. I always think people are most beautiful when they don’t have to act like anyone else.
Christmas has always been a sentimental but heartwarming season for me, it is a time for forgiveness and reconciling with all the struggles and pain we have in life and with ourselves. And so, Emi have something to say today...
For all the beautiful souls in my life..
I’m sorry, if I weren’t there when you need it. Please forgive me, if I have failed your heart or let you down. Thank you, for appearing in my life, enlightening me, and giving me a taste of love. Last but never the least. I love you.
Merry Christmas, dear friends.
The monastery Studenica, dedicated to the Presentation of the Holy Virgin, is the mother-church of all Serbian temples. It was constructed over a quite long period of time. The first stage of works were completed by the spring of 1196, when Stefan Nemanja abdicated and took monastic vows at the monastery. When he later left for Hilandar, his son and successor Stefan took over the care of Studenica. Nemanja died in Hilandar in 1199. Nemanja's third son Rastko (Saint Sava), after reconciling with his brothers Stefan and Vukan, moved Nemanja's relics to Studenica. Under guardianship of Sava, Studenica became the political, cultural and spiritual center of ´medieval Serbia.
Max Waters:
"I spent my life trying to reduce the brain to a series of electrical impulses. I failed. Human emotion... It can contain illogical conflict.
Can love someone and yet hate the things that they've done. Machine can't reconcile that."
in transcendence
www.youtube.com/watch?v=QheoYw1BKJ4
a Wally Pfister film
“It's hard to reconcile this August with the other one. and to be honest I don't try very hard. I've seen flashes of this August before-This brightness, this conviviality, this generosity of spirit-but I know what he's capable of, and I won't forget it. The others can believe what they like, but I don't believe for a second that this is the real August and the other an aberration And yet I can see how they might be fooled-”
― Sara Gruen
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Thanks to all for 8,000.000+ views and kind comments ... ! Enjoy your Sunday...!
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Yeah, the Joy continues. A sunny Day in the Addition...nothing better to do than play with the Camera! Savor the moments you have remaining...reconcile your life...or just Party like it's 1999.😎 Not much else we can do...other than to love and help others...live our lives and wash our hands.
Please do not use without my explicit permission
© All Rights Reserved
Walter C Snyder