View allAll Photos Tagged Solidity
1954 Chevrolet Bel Air 4- door Sedan
Engine type: sprak-ignition, 4 stroke, 2 valves per cylinder
Cylinder alignement: Line 6
Displacement engine: 3.859 cm3
Transmission type: Syncro Mesh 3 speed
Horsepower gross: 86 kW/117 PS
Topspeed: 140km/h
This long exposure shot of the Aurora gives a remarkable solidity and 3D effect to the magical light. The rock was illuminated using an off camera flash.
(adj.) *Fragile
1. easily broken or damaged or destroyed.
2. vulnerably delicate
3. lacking solidity or strength
Fragile Situation, Lorraine, Quebec, Canada. (2005 archives)
PixQuote:
"I have gradually confused photography with life."
(Jerry Uelsmann)
Feel more ................... Brrr!
More ...........................ChristmasPix
:: PORTFOLIO
Il y a tellement de manières de dire les choses sans parler.
There is so many ways to tell the things without telling anything.
(Better see in large)
Photos of the Pathfinder Railtours 2023 Spring Highlander tour including off-train options.
The Bridge of Dun, which gave its name to the junction station between the Glasgow to Aberdeen main line and the branch to Brechin, which branch is now preserved as the Caledonian Railway.
The dates of construction of this bridge over the River South Esk are given as work starting on 7 June 1785 and opening to traffic on 27 January 1787, quite surprisingly detailed for the time, when information about similar structures can often be pinned down to nothing closer than a month or so.
Perhaps more unexpected is that a bridge of this size and solidity was provided for nothing more than a most minor road, that even now links very scant habitation, so the two cars and a motorcycle that I saw cross in a 15-20 minutes on a Saturday afternoon may be typical.
This three arch stone bridge in Gothic style even has individual supports for the refuges that traffic levels surely can never have warranted, three columns under each refuge being mounted on the cut-waters.
Estação do Oriente, Lisboa
Oriente railway station, Lisbon
Arquiteto / architect: Santiago Calatrava
A estação foi construída como entrada para a Expo 98 e o seu design é correspondentemente espaçoso. As estruturas de suporte em betão armado do edifício no piso abaixo das vias são particularmente interessantes. Apesar da sua solidez, a estrutura de suporte transmite uma leveza visual e uma impressão futurista graças às suas formas arredondadas e ao curso inclinado mas simétrico dos pilares. A forma arqueada caracteriza o nível de entrada e é continuada em muitos pormenores, como a cobertura em forma de asa arredondada.
Quando entrei na estação do Oriente pela primeira vez, vindo do metro, a primeira coisa que me veio à cabeça foi o filme Metropolis. E isso ficou-me na memória. Continuo a achar este edifício colossal arrebatador e maravilhoso ao mesmo tempo.
The station was built as the entrance to Expo '98, and its design is correspondingly spacious. The reinforced concrete supporting structures of the building on the floor below the tracks are particularly interesting. Despite its solidity, the supporting structure conveys a visual lightness and a futuristic impression thanks to its rounded shapes and the inclined yet symmetrical course of the columns. The arched shape characterises the entrance level and is continued in many details such as the rounded wing-shaped canopy.
When I entered Oriente station for the first time, coming from the underground, the first thing that came to mind was the film Metropolis. And it stuck with me. I still find this colossal building oppressive and marvellous at the same time.
La façade occidentale est typiquement de style gothique brabançon par son décor flamboyant très ordonné. Mais elle s'inspire par ailleurs de la typologie des cathédrales françaises, avec ses deux tours et ses trois portails surmontés de leur gable. Cependant, contrairement aux façades françaises elle n'a pas de rosace, cette dernière étant remplacée par une grande verrière brabançonne. Les deux tours dont les sommets sont aménagés en terrasses sont attribuées à Jan Van Ruysbroeck (1470-1485), l'architecte de la tour de l'Hôtel de ville de Bruxelles. Elles sont inachevées et auraient dû être bien plus élevées, dans un style proche de la tour de l’hôtel de ville ou de la tour nord de la cathédrale d'Anvers.
La forte prédominance des lignes verticales de cette façade est frappante, c'est un trait typique du gothique brabançon. Quatre robustes contreforts enserrent et séparent les trois portails. Aux deux extrémités, les contreforts latéraux sont particulièrement importants. Larges de plus de quatre mètres, ils intègrent deux hautes tourelles percées de meurtrières qui s'élancent d'un seul jet jusqu'aux sommets des tours. Chacune de ces tourelles abrite un long escalier à vis qui relie le rez-de-chaussée à l'ensemble des étages de la façade et des tours, et se prolonge ainsi jusqu'aux terrasses des sommets, à près de 65 mètres de hauteur. Ces puissants contreforts latéraux et leur tourelle à meurtrières contribuent à donner à la façade une impression de puissance et de solidité.
The western facade is typically in the Brabant Gothic style with its very orderly flamboyant decoration. But it is also inspired by the typology of French cathedrals, with its two towers and three portals surmounted by their gable. However, unlike the French facades, it does not have a rose window, the latter being replaced by a large Brabant glass roof. The two towers whose tops are arranged in terraces are attributed to Jan Van Ruysbroeck (1470-1485), the architect of the tower of the Brussels City Hall. They are unfinished and should have been much higher, in a style close to the tower of the town hall or the north tower of the cathedral of Antwerp.
The strong predominance of the vertical lines of this façade is striking, it is a typical feature of Brabant Gothic. Four sturdy buttresses surround and separate the three portals. At both ends, the side buttresses are particularly important. Wide of more than four meters, they integrate two high turrets pierced with loopholes which soar in a single jet to the tops of the towers. Each of these turrets houses a long spiral staircase that connects the ground floor to all the floors of the facade and the towers, and thus extends to the terraces of the summits, almost 65 meters high. These powerful side buttresses and their turret with loopholes help to give the facade an impression of power and solidity.
Lord, have mercy.
Have mercy on my darkness, my weakness, my confusion.
Have mercy on my infidelity, my cowardice, my turning about in circles, my wandering, my evasions.
I do not ask anything but such as mercy, always, in everything, mercy. My life here at Gethsemani - a little solidity and very much ashes.
Almost everything is ashes. What I have prized most is ashes. What I have attended to least is, perhaps, a little solid. Lord have mercy. Guide me, make me want again to be holy, to be a man of God even though in desperateness and confusion.
I do not necessarily ask for clarity, a plain way, but to go according to Your love, to follow Your mercy, to trust in Your mercy.
-Thomas Merton, Turning Towards the World, pg 28
The symmetrical pharaoh shows no movement or change, suppressing all motion and time to create an eternal stillness; his strong build and permanent stance demonstrate no notion of time—Khafre is timeless, and his power will exist even in the afterlife. The pharaoh has an emotionless and ageless face, alluding to his non-chaotic, controlled empire and powerful leadership; the pharaoh has control over his domain. The statue is based upon compactness and solidity with few projecting parts; Khafre’s block-like body is attached to the throne to last for eternity, creating one single structure. His arms rest on his thighs, directly facing the viewer in a rigid, frontal pose. The bilaterally symmetric statue, symbolizing order and control in the pharaoh, is the same on either side of the vertical axis of the statue, only differing in Khafre’s clenched right fist. The tight profile and block-like aspect represent Khafre as a permanent being and part of the stone to keep his ka safe. Khafre will always exist, on earth and in the afterlife. The pharaoh’s sculpture can be described as absolutely frontal, utterly immobile, and perfectly calm: the characteristics of Egyptian block statue.
Destaca la torre de «La Emparedada». Torre defensiva del siglo X, considerada como obra mozárabe, que enlazaría con la muralla que rodeaba la población. El recinto amurallado que rodea la torre albergó el Palacio del Abad de Covarrubias, que hoy es una propiedad privada. Su forma es piramidal truncada y su planta rectangular. Sus medidas son: 10 x 14 m de lado el rectángulo de la base y 7,5 x 11 m en su parte superior. La sensación de solidez que nos transmite no es sólo apariencia ya que se sustenta sobre muros de hasta cuatro metros de grosor en su base.
Por sus pequeñas saeteras los arqueros hacían blanco sobre el enemigo, mientras que desde los matacanes se arrojaba agua o aceite hirviendo. Si recorremos toda su altura, nos encontramos con una cubierta de teja roja, que no corresponde a su estructura original de almenas.
Se accede a la torre por medio de una escalera móvil, a través de una puerta a media altura, que forma un arco de herradura de dovelas desiguales. De este modo, en caso de ataque la escalera se retiraba y la fortaleza era inexpugnable. La torre presenta cuatro plantas y a cada una de ellas se accede desde la planta superior. A la inferior, se entra desde la primera planta a través de una trampilla de madera. Por lo que quizá fuera utilizada como prisión o como almacén. Cuenta la leyenda que la infanta Urraca fue emparedada aquí por su propio padre Fernán González, como castigo por sus amoríos con un pastor.
es.wikipedia.org/wiki/Covarrubias
es.wikipedia.org/wiki/Torre_de_Covarrubias
The tower of «La Emparedada» stands out. Defensive tower from the 10th century, considered a Mozarabic work, which would connect with the wall that surrounded the town. The walled enclosure that surrounds the tower housed the Palace of the Abbot of Covarrubias, which today is a private property. Its shape is truncated pyramidal and its ground plan is rectangular. Its measurements are: 10 x 14 m on the side of the base rectangle and 7.5 x 11 m at the top. The sensation of solidity that it transmits is not only appearance since it is supported on walls up to four meters thick at its base.
Through their small arrow slits the archers targeted the enemy, while boiling water or oil was thrown from the machicolations. If we go along its entire height, we find a red tile roof, which does not correspond to its original structure of battlements.
The tower is accessed by means of a mobile staircase, through a door at mid-height, which forms a horseshoe arch with uneven voussoirs. In this way, in case of attack, the staircase was withdrawn and the fortress was impregnable. The tower has four floors and each of them is accessed from the upper floor. The lower one is entered from the first floor through a wooden hatch. So maybe it was used as a prison or as a warehouse. Legend has it that the Infanta Urraca was walled in here by her own father Fernán González, as punishment for her love affairs with a shepherd.
One of the signs that our practice is beginning to unfold is that we get a sense of what St. Isaac the Syrian calls “sweetness.” Something deeper begins to attract us, and this something deeper is more spacious, alluring, and silent than the tediously dramatic opera scores of inner chatter. The inner chatter will be present, but its grip on our attention loosens. It is as though this mass of thoughts and feelings was a brick wall that once obstructed our vision. But gradually we see that the sense of this wall’s solidity is a creation of our identification with these thoughts and feelings. It is not a wall after all but a window.
-A Sunlit Absence: Silence, Awareness, and Contemplation by Martin Laird
Buick Century 63 Riviera Hardtop Sedan 1958, "the chrome King"
Buick is a division of the American automobile facturer General Motors (GM).
Started by automotive pioneer David Dunbar Buick in 1988, it was among the first American automobile brands and was the company that established General Motors in 1908. Before the establishment of General Motors, GM founder William C. Durant had served as Buick's general manager and major investor. With the demise of Oldsmobile in 2004, Buick became the oldest surviving American carmaker.
The 1958 Buick Century harnesses the full power of Buick's mightiest engine to the agile and highly maneuverable Buick 122- inch wheelbase-giving a power-to-weight ratio that was a honey in any performance lovers's language.
Teaming up with this great new powerplant was the eye-wink obedience and silksmooth response of an advanced new Variable Pitch Dynaflow.
And along with all this came the rock-firm solidity, easy handling and wondurous comfort of Buick's MIracle Ride.
On every score- and particulary from the many luxury features that came with its brillant performance the Century took top honors for prestige in its field again in 1958.
Cylinder alignment: V8, 16 valves 5.957 cc
Output: 283 HP
Transmission: 3- gear box manual
Body: 4- doors, 6 seats/ 3 in the front and 3 in the back
Acceleration: 0 to 100 km/h in 11.7 seconds
Top speed: 173 km/h
The Gimsøystraumen Bridge is made of concrete and 839 metres (2,753 ft) long, the main span is 148 metres (486 ft), and the maximum clearance to the sea is 30 metres (98 ft). The bridge has 9 spans. Gimsøystraumen Bridge was opened in 1980. It is one of many bridges that connect the islands of Lofoten to each other as part of the European route E10 highway (also known as Lofast). (Wikipedia)
This nasty nurse is a real heart taker! BWAHAHAHAH!!!
Olyvia is wearing:
.miss chelsea. Eira Boots Bloody
.miss chelsea. Eira Dress Bloody
.miss chelsea. Eira Top Bloody
*:: Miss Canning :: [ Head Shot Lelutka Evox]
Roses Leg - TaTToo Black 100% [CAROL G] BOM
(Yuimmy) Nightmare Rings Set
/ HEAD / lel EvoX LILLY 3.1
Chop Zuey Deception Earrings Lft
Chop Zuey Deception Earrings Rt
DOUX - Olivia Hairstyle [M]
Maitreya Mesh Body - Lara V5.3
Rosary. Solidity __ Maitreya Medium
[StudioNova] Head Nurse - Blood Hat #RARE2 ( White )
Props:
*!R.O!* Dagger
*!R.O!* Heart
Pose: *!R.O!* Heart Taker
Second runway look for the Avistar competition.
Hair: DOUX - Laura hairstyle
Necklace: =Zenith=vintage pearl necklace with key 4
Dress: HYPNOSE - CORINNE
Clutch: veyard_ B01 lips clutch
Shoes: AVEC TOI - Siouxsie Heels TEMPEST PACK
Skin: poema - SIDONIE skin T.1
Nails: Rosary base nails + solidity HUD
Hideo Furuta is an artist of international standing, with many public commissions across the UK and in Japan. Creetown owed its growth to the business of granite extraction, and the local quarries were indeed what originally brought artist Hideo Furuta to the town. The local silver granite is intrinsic to the design of the square, and echoed in the solidity of the traditional architecture of the buildings that surround it.
The design for the new town square was a collaboration between artist, landscape architect and community and relates to the natural, cultural and built heritage of Creetown.
An amazing photo with my amazing friend Euphoria! ♥
Styling
Euphoria:
Pants: ISON x SL18B Gift
Blouse: Rowne.Vilma Organza Shirt
Shoes: [Gos] Miranda Safety Pin Platforms - Metallic
Hair: FACESHOP- The Pixie
Earrings: HEX
Me:
Pants: Rowne.Elson Flare Pant
Top: Rowne.Motler Feather Top
Hair: DOUX - Laura hairstyle
Earrings: HEX
Shoes: [Gos] Miranda Safety Pin Platforms - Metallic
Nails: Rosary. Base Nails . Square + solidity HUD
Bracelets: MAJESTY- CC Stackable bracelets + MAJESTY - CD Bangle
Backdrop is from Foxcity - FOXCITY. Photo Booth - Blank Minds
Political language... is designed to make lies sound truthful
and murder respectable,
and to give an appearance of solidity to pure wind.
-George Orwell
A great new spring dress from I.M. Collection. Perfect for cocktails or shopping.
Olyvia is wearing:
I.M. Collection Tigress Maitreya
THIS IS WRONG Leia tattoo Body BLUE FADED - BoM
THIS IS WRONG Leia tattoo Head (Evo X) BLUE FADED - BoM
/ HEAD / lel EvoX KAYA 3.1
:::ChicChica::: Pink Lady L WEAR
Cae :: Engraved :: Bracelet :: Sister
DOUX - Alexa Hairstyle [S]
KUNGLERS - Nora R - Bracelet
KUNGLERS - Sigel rings L - Maitreya
KUNGLERS - Susan rings - R - Maitreya
Maitreya Mesh Body - Lara V5.3
Rosary. Solidity __ Maitreya Medium
THE OAK - Graci Bag (Relaxed Right)
[Gos] Julia Elaphe Sandals - Summer [maitreya]
[Z O O M] Brillie Glasses
Prop:
:::ChicChica::: Pink Lady cocktail
ufashionable.wixsite.com/sluf/post/empress
DOUX - Sins Hairstyle
MINIMAL - Queen Crown
"Off-Line" x "Madison" Mini Dress
Tattoo: Hoodlem - indya marie
Rosary. Solidity
“I reckon you should hold onto that Sigma. It’s regarded as a cult lens nowadays.” Lee had given his verdict. I’d been in the middle of a clearout, shifting some of my old camera equipment to make way for the new. Of course when I say new, I don’t mean “new” new. Heaven forfend that I should part with such enormous sums. I mean I got it on eBay, or I did a part exchange with one of the online used camera gear sellers.
The item under discussion was a lens I’d bought several years earlier, at a time when the first adopters were beginning to get bored with their new toy and trickling the second hand market with them. Ever in search of a bargain, and ever careful to make a purchase that wouldn’t require me to lie about the price to Ali, I’d found one that had a slight issue. “Focuses and works perfectly,” it said, “but holding filters can be a problem because I dropped it and there are two cracks in the filter thread.” This was clearly a case where a degree of honesty from the seller was the only option. It seemed an inexpensive UV filter had averted a complete disaster and otherwise saved the lens, something that's happened to me as well for that matter. I reasoned that as long as it worked ok I’d get around the downside, and at two hundred pounds less than all the others on sale on your favourite auction site with “offers considered” mentioned in the description, I made an offer, which after a bit of further negotiation was duly accepted.
Lee already had one of course, and was raving excitedly about it. Those of you who know him won’t be surprised to learn that he soon sold it on; I’ve tried to keep track of the number of camera systems he’s owned, but my abacus blew a gasket several years ago on that front. Mine soon arrived, with those diametrically opposing cracks. It carried a pleasing glass filled heft about it, that none of the others in my bag had in those early days of my photography exploits. It was true that I’d quite often find myself rummaging about in the undergrowth for a filter that had taken a nosedive at the vital moment, but the quality of the images was undeniable. I used it regularly, salivating over the bokeh at the 1.8 end on my 50th birthday trip to Barcelona. There was no doubt that it was a very good lens, the best I had by a distance.
And then a few years later, just before that summer trip to Iceland I got carried away with a splurge on a full frame camera and professional lenses on the back of an humungous promotion at work. Obviously they weren’t brand new, but you knew that already didn’t you? The trouble was that the Sigma lens I’d now owned for three years or more only fitted the crop body (ironically I did buy this camera brand new), which I’d decided to retain as back up, although by default it was going to see less action than before. Which also meant that lens was going to spend most of its life in its bag not seeing daylight.
One evening in the pub after an outing we devised a splendid hack. A rubber wristband advertising the name of a well known purveyor of stout in Dublin fitted the end of the barrel perfectly; to which was added a step up ring, permanently and conveniently converting the thread size to match that of the new lenses. Suddenly the filters seemed more content to stay where I’d put them and outings with the lens and filters became more predictable. But the irretrievable fact remained that with two fantastic lenses, either one alone more than covering the focal range of this one that it wouldn’t get used very often.
And sadly it doesn’t, although every time it gets an outing I’m reminded that it needs to be used more regularly. I always think of it as my woodland lens, the one I resort to when the bluebell season comes around. Here for example, it seemed to diffuse that light so beautifully that a shot I wasn’t expecting to make it past the cutting room floor appears in my Flickr feed. I enjoyed the green swirl that comes in from the bottom left to encircle the fern. Wish I could have moved to the left a bit to frame it under the leaning trunk, but I wasn't going to start trampling those precious bluebells. At moments like this, the little used lens earns its place in the collection, even though without it I could also probably move on the crop body and buy another full frame as a back up for when what I like to call an “Aldeyjarfoss Moment” takes place. You’ll have to dig through my Iceland archive for that one, but suffice to say I had a camera malfunction at a remote and exquisite waterfall I may in truth never have the chance to visit again. Although I’ll do a better job there next time.
So of course I relented on selling the lens and kept it close for its infrequent adventures. It seems it’s worth more than what I paid for it now, even with those cracks on the thread, but I’ll hang onto it anyway. It still has that comforting solidity and weight that makes it a fully paid up resident in the collection. And with it remains the faithful crop body, almost the only item owned from new, and with barely six thousand shots on the clock, most of them taken before its more expensive rival arrived in the bag to hoover up the attention like a marauding shark.
Incidentally I’m still waiting for the Guinness family to get in touch with a sponsorship deal. Maybe it’s because my Irish heritage is in County Cork where they drink the Murphy’s instead. Or perhaps they’re expecting me to use the lens a bit more often first. Either way, if any of them are reading, please do write in and we’ll talk turkey.
The color blue represents both the sky and the sea and is associated with open spaces, freedom, intuition, imagination, inspiration, and sensitivity. Blue also represents meanings of depth, trust, loyalty, sincerity, wisdom, confidence, stability, faith, and intelligence.
With heartfelt and genuine thanks for your kind visit. Have a wonderful and beautiful day, be well, keep your eyes open, appreciate the beauty surrounding you, enjoy creating and stay safe! ❤️❤️❤️
#AdamsPhotoChallenge
www.flickr.com/photos/tags/AdamsPhotoChallenge
Photo taken @ LaZy DaZe
maps.secondlife.com/secondlife/Bunny%20Island/229/126/31
Credits:
Hair: Doux - Laura Hairstyle
Make-up - Lelutka Avalon Make-up kit
Dress: U. Gigi Dress
Nails: Rosary - Solidity HUD
Rings: Vibing - Galaxy rings
Earrings: Lagyo Lobster rings
Necklace: Lagyo Seaside Necklace
Dom Jean used to tell how he heard the famous author exclaim enthusiastically: “Look at that wonderful balance of grandeur and simplicity, of beauty and austerity, dignity and elegance, purity of line and practicality, solidity and grace! What proportion, what harmony!” He kept repeating over and over, “The whole place literally sings of St. Benedict and St. Bernard!” until finally Dom Jean begged him to tell what he meant by these outbursts. Montalembert replied that he believed God must have shown these saints that, if they were going to dwell all their lives in solitude, there to advance to union with him by a spiritual life and by the suppression of everything that was not indispensable to nature, the monks, as a group, would need to be kept in a state of constant expansiveness of soul. The only great means for producing this are spiritual reading—especially Holy Scripture, with prayer and the eucharistic life: but God inspired our fathers with a supplementary means in support of these. He showed them that it was much better to refrain from decorating their churches and cloisters with all the frippery of second-rate art, and to fall back entirely on the beautiful and ample simplicity of an art that was stripped of all useless embellishments.
-The Spirit of Simplicity, Jean-Baptiste Chautard OSCO, Translated by Thomas Merton
The building was intended to convey solid foundations of the Halifax Building Society....now also houses Lloyds
Puente del Kursaal, Donostia, Guipúzcoa, España.
Puente de tramos rectos de hormigón armado, recubierto por piedra de Motrico y mármol rosa, con elementos decorativos de estilo modernista. Construido sobre grandes pilares, de donde arrancan las seis características farolas que contienen a esta obra su marcada personalidad.
A comienzos del siglo XX. El ayuntamiento apoya la construcción de un tercer puente sobre el Urumea "en el que se armonicen la solidez y la resistencia con la monumentalidad y belleza del conjunto".
El ingeniero Ribera presentó al Ayuntamiento una importante modificación: el puente de la Zurriola, proyecto inicialmente con arcos, será construido con tramos rectos.
El 14 de Agosto de 1921 numerosísimo público acudió a la inauguración.
El barandado metálico y los obeliscos que hacen de farolas son obra de Victor Arana. Las cuatro esfinges de bronce pertenecen a la reforma de 1993. Tienen 120 metros de largo como el puente de Santa catalina con el que mantiene cierta armonía de líneas y es algo mayor que el Puente de María Cristina, de 100 metros.
Años de realización: 1918-1921
Autor: J.E.RIBERA
Bridge of straight sections of reinforced concrete, covered by motric stone and pink marble, with decorative elements of modernist style. Built on large pillars, from which the six characteristic lanterns that contain this work its marked personality.
At the beginning of the 20th century. The city council supports the construction of a third bridge over the Urumea "in which solidity and resistance are harmonized with the monumentality and beauty of the whole".
Engineer Ribera presented the City Council with an important modification: the Zurriola bridge, initially with arches, will be built with straight sections.
On August 14, 1921, a large audience attended the inauguration.
The metal balustrade and the obelisks that act as lampposts are the work of Victor Arana. The four bronze sphinxes belong to the 1993 reform. They are 120 meters long, like the Santa Catalina bridge, with which it maintains a certain harmony of lines and is somewhat larger than the María Cristina Bridge, which is 100 meters long.
Years of realization: 1918-1921
Author: J.E.RIBERA
Excerpt from www.christkindl.ca/sites/christkindlmarket_01/files/day-8...:
Toronto Dominion Bank (Former) - 70 King Street E.
Built in 1959, and designed by Bruce Etherington this building has been identified as one of the best examples of modern movement architecture in Waterloo Region. It expresses both solidity through its use of limestone and marble; and motion through the unique inflection of the facades and roofline, and tapering metal fins along the windows.
Robe - Cynful - Fluffy Obsession Robe *NEW* @Collabor88
Lip Ring - Rossi - Diamond Hook *NEW* @Cake Day
Thigh Chain - Rossi - Nubian Goddess @Mainstore
Pedicure - Rosary - Solidity (Need Base Nails) *Shown On Blog* *NEW* @Ebody Reborn Event
Wine - ChicChica - Wine Glass @Mainstore
Backdrop - Foxcity - Me Time @Mainstore
Hair: BOYS TO THE BONE vogue hair #2
Necklace 1: MAJESTY- CC Choker
Necklace 2: MAJESTY X COLD - D Flame Diamond Necklace
Bracelet set 1: MAJESTY- CC Stackable bracelets
Bracelet set 2: MAJESTY X COLD - D Flame Diamond Layer Bracelet
Earrings: MAJESTY- Coco Round Earrings
Lipstick: Banana Beauty: Paola Lipstick
Eyebrows: -SU!- Agnes Eyebrows
Rings set 1: 7;] Designer Fingers
Ring set 2: Orsini Jewelry HW CHRISTINA + Orsini Jewelry HW LOU
Outfit: MOGUL (Omya Sheer Catsuit) - #Monochromes - @Tres
Chic
Nails: Rosary. Base Nails . Square + Solidity HUD
ufashionable.wixsite.com/sluf/post/isn-t-it-lovely
Hair: $$$PL//: Terry (up/Down)
Nails: Rosary. Solidity __ Legacy Long
Lingerie: {QUEENZ x NOIR} Sinful
Navel Piercing: ROSSI. Blossom Child Belly Piercing
Summer Painting Project 2021.
Acrylic on Canvas. 10" in Diameter.
The very best thing that came out of Lockdown for me was returning to painting after a 15 year hiatus. I started back at it in the Summer of 2020 and continued on with it in '21. I can only paint outdoors for a variety of reasons so this work is my "summer project". With a lot more time on my hands it was easy to jump outside on my balcony "studio", fitted with a giant drop sheet, some newspaper and plastic covered patio tables, and get right to it.
Most of the paintings shown here were done with at least one form of metallic paint - gold, silver and copper. Metallic greens, blues and purples also made their presences felt as well. These paints are ridiculously difficult to photograph. Silver goes white, gold just looks like flat yellow and copper comes out on camera as either orange or brown, depending what colour it's next to on the canvas. So these photographs are proxies, at best, representatives of the original source. They're close, but not the same as seeing the pieces in person.
Using metallic paints give the paintings an extra jolt and delight that sends them out of the realm of 'paint' in a sense - a definite goal I have in mind for these pieces. Another way of undermining 'safe' readings is to fashion them all on either perfect circles or on squares tilted "on the diamond", as I call it. Both undermine the traditional sense of solidity, gravity and earth-bound familiarity of rectilinear formats. While being unavoidable 'windows' into an imaginary world, they are also distinct objects existing in 3 dimensions as well. So the mind can toggle between object and metaphor, hopefully sometimes so quickly that they take on both aspects simultaneously.
This is another way of achieving my underlying artistic intent to provide each piece with more than one way of viewing it. Literally as you move around these pieces, because of the metallic paint sometimes reflecting fully and other times 'falling back' into the rest of the paints, you get different views appearing and disappearing. Hanging on a wall, as the daylight and evening lights change, slowly, so do the paintings. This gives voice, again, to my conviction that there is no single way to view anything. Nothing is singularly aspected.
So these paintings are morphing organisms that respond to what's happening in their light-universe and to how they're viewed by human eyes.
It's too bad none of these can be relayed in photographic form. Some come close. But these photographs, then, are petrified representatives of the living variations of their 'in-person' nature.
***** I want to thank Paul Ewing, Bramdass, Miranda Murray, Tim Noonan and Bill Smith for their continuous support and encouragement to get these things posted to Flickr.
- RSW
___________________________________________________
© 2021, Richard S Warner. All Rights Reserved. This image may not be used or copied or posted to another website in any form whatsoever without express permission of the creator of this work.
This is back of the leveled cabin pictured in an earlier photo (the one with only the chimney and floor remaining). I liked the intersecting lines, not to mention its apparent solidity compared to the vanished cabin.
His questions often directed him along circuitous routes that led to places that were not exactly his goal but were never irrelevant. Nothing was wasted. Everything that happened to him could be adored. Each immersion in the sacred ocean of Matter—into that Cosmic-Christic evolutionary stream—turned out to be for him an adventure into God, into Christ Omega. Each emergence found him closer to the heart of the one who was ever drawing him along the road of fire, ever drawing him into the future: immersion in the solidity and density of Matter led to emergence into a felt sense of Matter's spiritual power; immersion in the deep abyss of his self led to emergence into a profound sense of the uniqueness and beauty of his life and of the sheer improbability of his existence; immersion in the evolutionary movement of the cosmos led to emergence into an overwhelming sense of its future direction; immersion in the struggle of the World led to emergence into a deeper sense of his ability and responsibility to effect change; immersion in the Heart of Matter led to emergence into the heart of the Cosmic Christ.
-Teilhard's Struggle, Embracing the Work of Evolution, Kathleen Duffy, SSJ
"We never look deeply into the quality of a tree;
we never really touch it,
feel its solidity,
its rough bark,
and hear the sound that is part of the tree.
Not the sound of wind through the leaves,
not the breeze of a morning that flutters the leaves,
but its own sound,
the sound of the trunk
and the silent sound of the roots."
~ Jiddu Krishnamurti ~
Roman bridge and Torre de la Calahorra, Guadalquivir river, Córdoba, Andalusia, Spain
The Roman bridge which, according to the Arab geographer, Al-drisi 'surpasses all other bridges in beauty and solidity', reflects little of its Roman roots, owing to frequent reconstruction over many decades. In the centre of the eastern side's stone handrails there is a little shrine to St Raphael, at whose feet the devout burn candles.
It is, of course, unlikely that much of the original structure stands. The present structure is a medieval reconstruction, though the 19th-century cobbled paving does give a Roman feel. There is an irregular pattern to the 16 arches in size and abutment protections.
The unadorned angles and bulky solidity of the tower contrast with the light sweeping flow of the clouds above. Humans impose structure(s) on the natural world, both literally and in the concepts we use to "organize" it. We treat ourselves as a species apart from nature (and often opposed to it). Often nature simply flows around and through us, unconcerned - but watch out when she emphatically opposes our fragile certainties, whether made of stone or ideas.
Body - Legacy
LeLutka - EvoX AVALON
Outfit - NEW Release LittlePaws Molly Bodysuit FatPack Fetish Fair Event
Hair - Foxy - Chibi
Nails - Rosary. Solidity
Hair: DOUX - Laura hairstyle
Eyeshadow: Lelutka
Lipstick: : Dernier : "Anita Special" Lipstick
Nails: Rosary base nails + Solidity HUD
Rings: Orsini
Earrings: MAJESTY- Coco Round Earrings
Bracelets: MAJESTY- CC Stackable bracelets
Dress: Clef de Peau.Hailey Dress Checker
Shoes: Clef de Peau.Chloe Pumps Checker
I am still playing catch up at the moment, so sorry if I have not got round to your streams yet.
This is the Lloyds building which can be found on Bristol's harbourside. Its a popular spot for skateboarders due to a large arc of steps that sit in front of the building.
Have a great evening! :-)
Willem Marinus Dudok, (born July 6, 1884, Amsterdam, Neth.—died April 6, 1974, Hilversum), Dutch architect whose work is related both to the school of Amsterdam, which emphasized individual expression, and to the De Stijl group, which stressed geometric form. He attended the Royal Military Academy at Breda and remained in the army until 1913. He became municipal architect of Hilversum in 1915 and thereafter designed many buildings for the city, notably the Dr. H. Bravink School (1921), the Vondel School (1928–29), and the Town Hall (1928–30). These structures, though compositions of cubes, convey solidity and texture through the use of solid brick.
“To every hour, its mystery.
At dawn, the riddles of life and light.
At noon, the conundrums of solidity.
At three, in the hum and heat of the day, a phantom moon, already high.
At dusk, memory.
And at midnight? Oh, then the enigma of time itself; of a day that will never come again passing into history while we sleep.”
Clive Barker.
Another from a morning walk in my homeland.
Nikon D810, Nikon 75-150 f3.5 @f11. ISO 64, 0.4sec. Tripod.
Normally I wouldn’t have the tripod with me in the woods. I would open the lens up a lot more to soften the backdrop (and make it easier to hand hold), especially with some mist around, but this is a bit of a 'practice' shot at f11 and, moreover, me just enjoying being out in the woods.
Thanks for looking.
"In this scarred country, this cold threshold land
The mountains crouch like tigers.
By the sea Folk talk of them hid vaguely out of sight;
But here they stand in massed solidity
To seize upon the day and night horizon."
-James K. Baxter
Olyvia is wearing:
Cindy Black TaTToo 50% [CAROL G]
{Nena} Fishnet Tights v1 Black (Tattoo)
A! Natasha Eyeshadow Red GENUS
S.E LELUTKA EVO ADORABLE HAIR PACK
.::Nanika::. Summer wind tattoo Black Lower
Not Found - Heather Skin Sorbet Normal
** DIRAM ** PAIGE Glasses
[VEX] [Platinum] Cuban Lock Necklace
Floppy Fedora - (colored for this photo)
KUNGLERS - Grazia R - Maitreya
KUNGLERS - Hannah ring - L - Maitreya
LeLUTKA.Head.Lilly.2.5
Maitreya Mesh Body - Lara V5.2
NANIKA - Evdokia Bodysuit Black Star
Petite Mort- Fox fur stole w/HUD L
Rosary. Solidity __ Maitreya Medium
[BREATHE]-Mihoko Heels-M.Lara
[MANDALA]AMIDA
[VEX] Phoenix Septum
Props:
::Static:: Starlet Smoke {Liz} Fancy Pose
:::ChicChica::: Bottle of Champagne
RiG!
RiG! - Barrel Stand (Dregs)
The two-barrel wooden medieval stand is crafted from mature oak, showcasing the rich, dark grains that speak to its age and solidity. Positioned in a grand medieval hall, the stand serves as both a functional piece and a decorative focal point.It features two large barrels atop it, the oak matured to perfection, serving as containers for ale, mead or wine. Hanging above are polished tankards, inviting guests to partake in a hearty drink. The brass taps gleam in the warm light of the hall, adding an air of elegance and functionality to the rustic piece.The lower shelf of the stand is practical yet charming, adorned with a burlap grain sack, hinting at the agricultural abundance of the time. Smaller vessels lie beside it, suggesting a readiness for serving and enjoying various beverages. This stand not only embodies the craftsmanship of the medieval era but also enhances the convivial atmosphere of the hall, making it a perfect gathering spot for feasting and festivities
LM's and More here : SinclaiR Style
THE NEW STANDARD BICYCLE RACK FOR NYC
The Hoop Rack designed by Ian Mahaffy and Maarten de Greeve is the new standard bicycle rack for the streets of New York City. There are over 5000 racks installed throughout the city, as part of a larger initiative that is helping transform New York into a cycle-friendly city — designed for the New York City Department of Transportation (
The circular shape of the Hoop Rack provides accessible locking points all around its profile for all sizes of bicycle frames and wheels. An intersecting horizontal bar is at an optimal height for locking the bicycle frame. Moreover, the slimline design profile allows it to be easily installed on the crowded NYC sidewalks while consuming a minimum space and preventing congestion. As a whole and in its details, there are sharp or protruding edges or parts that could cause harm to pedestrians or bicycles.
Our aim for the design was twofold, to create a simple yet symbolic design for NYC and improved functionality over the existing installed racks. The circular and wheel like form is the symbol and expresses a strong relationship with the bicycle, helping with functional communication.
Though the form, materials and manufacturing process we considered how well it should fit into different urban environments from the more modern and new build areas of Manhattan to the classic and historic neighbourhoods like the brownstones around Brooklyn.
Creating a design that could stand the test of time, survive harsh weather and treatment on the streets of NYC was critical. The pure form of the circle has inert strength as well as a simplicity to being timeless.
We considered a permanent look in the NYC urban environment, and material choice and production methods helped achieve this. We also wanted a good fit with other street features such as utility hole covers and quality park benches. For strength (tried and tested), character, permanence and solidity cast iron was selected.
The simple pared down form allows for multiple racks to be placed close together without becoming an ‘eyesore,’ crude looking, attention seeking or overbearing. The clean and simple design makes this possible.
“Mahaffy and DeGreeve have created a bike rack that works beautifully in a variety of contexts: in historic districts and newly built environments. The form of the rack-a wheel-is ‘product semantics’ in motion!
Mahaffy and De Greeve’s design reflects a modern simplicity that will greatly enhance the City’s streetscape. The rack is round with a horizontal crossbar, evoking an abstracted bicycle tire. Constructed of cast-metal, the design is elegant yet sturdy enough to withstand New York cyclists’ harsh treatment.”