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Source: Scan of souvenir brochure cover.
Album: SIM01.
Date: September 7th 1974.
From the collection of R. Simmons.
Local Studies at Swindon Central Library.
Source: Scan of an OS photograph.
Grid: SU1583.
Date: January 1953.
Copyright: Ordnance Survey-Crown.
Used by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1385.
Date: March 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
The Source of all does not and cannot exhaust itself simply in producing shape and structure; it also produces that which dissolves and re-forms all structures in endless and undetermined movement, in such a way that form itself is not absolutized but always turned back toward the primal reality of the source.
-Rowan Williams, “Trinity and Pluralism,” in Christian Uniqueness Reconsidered: The Myth of a Pluralistic Theology of Religions, ed. Gavin D’Costa (Maryknoll, N.Y.: Orbis Books, 1990), 3.
Source: Scan of an original postcard from a set of 12.
Image: RSR218.
Date: c1930.
Postmark: unposted.
Repository: Local Studies, Swindon Central Library (R.S. Radway Collection).
Source: Scan of an original Edwardian postcard.
Set: MOO01.
Postmark: May 19th 1906.
Repository: private collection.
Local Studies at Swindon Central Library.
Source: Scan of a photograph.
Set: PER01.
Date: March 1998.
Repository: From the collection of R. Perry.
With thanks to Diane Everett.
Local Studies at Swindon Central Library.
Up in its headwaters the Skagit River takes on a unique blue color brought on by suspended minerals in the glacially infused waters.
Source: Scan of an OS RP photograph.
Grid: SU1384.
Date: March 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: ENS01.
Date: 1964.
Photographer: © 1964 Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Local Studies at Swindon Central Library.
La source d'inspiration la plus importante pour les sculptures de Dirk De Keyzer n'est rien de moins que la vie elle-même. Le monde est transformé en un monde parallèle alternatif dans lequel les problèmes majeurs et quotidiens sont compensés. Sans tomber dans la naïveté enfantine, la positivité et la pensée transfrontalière se voient accorder une place très importante. Cela ressort d'autant plus du fait que les personnages ne semblent appartenir à aucune culture, ni même à toutes les cultures. Par extension, on pourrait dire qu'il s'agit d'une interprétation tout à fait singulière du concept « d'homme universel », élevé au-dessus des caractéristiques extérieures, des différences culturelles et des tendances temporelles afin de mettre l'accent sur l'individu et la diversité.
L'humour est un autre aspect important de l'art de Dirk de Keyzer. Il croit fermement que l'humour, par opposition à la négativité, peut être le fer de lance de la critique sociale. Humour désarmant plutôt que bavardage pour stimuler la perspective et la tolérance. En ces temps chargés, le travail de Dirk De Keyzer nous appelle à réfléchir sur l'insoutenable légèreté de notre existence. Un moment d'introspection pour appeler à une petite évasion de la réalité quotidienne.
Les sculptures sont un instantané du monde alternatif de Dirk et invitent le spectateur amusé à pénétrer dans l'univers personnel du sculpteur. De cette façon, le spectateur vit la même expérience en regardant que l'artiste en créant. Dirk voit le processus créatif comme une sorte de thérapie qui l'aide à voir le monde sous un angle différent et essaie de le projeter sur le spectateur. Malgré son propre langage de forme unique, des données universelles telles que la poursuite humaine du bonheur, de la beauté et de l'harmonie se voient attribuer un rôle de premier plan. De cette manière, l'artiste tente d'entrer en dialogue avec son public, dans lequel, tout comme dans la vie elle-même, l'accent n'est pas toujours mis sur des objectifs préconçus, mais plutôt sur le chemin pour y parvenir.
The most important source of inspiration for Dirk De Keyzer's sculptures is nothing less than life itself. The world is transformed into an alternate parallel world in which major and everyday problems are compensated. Without falling into childish naivety, positivity and cross-border thinking are given a very important place. This is all the more apparent from the fact that the characters do not seem to belong to any culture, or even to all cultures. By extension, one could say that it is a quite singular interpretation of the concept of "universal man", elevated above external characteristics, cultural differences and temporal tendencies in order to emphasize on the individual and diversity.
Humor is another important aspect of Dirk de Keyzer's art. He strongly believes that humor, as opposed to negativity, can spearhead social criticism. Disarming humor rather than chatter to stimulate perspective and tolerance. In these busy times, the work of Dirk De Keyzer calls us to reflect on the unbearable lightness of our existence. A moment of introspection to call for a small escape from everyday reality.
The sculptures are a snapshot of Dirk's alternate world and invite the amused viewer to enter the sculptor's personal universe. In this way, the spectator has the same experience while watching as the artist while creating. Dirk sees the creative process as a kind of therapy that helps him see the world from a different perspective and tries to project it onto the viewer. Despite its own unique form language, universal data such as the human pursuit of happiness, beauty and harmony are given a prominent role. In this way, the artist attempts to enter into a dialogue with his audience, in which, just as in life itself, the focus is not always on preconceived goals, but rather on the path to achieve them. to arrive at.
Source: Scan of an OS RP photograph.
Grid: SU1584.
Date: January 1953.
Copyright: OS-Crown.
Used by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Image: P50194.
Date: June 1931.
Photographer: Mr Arthur New, 10 Gordon Road, Swindon.
Donated in 2011 by Mr D. New.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: ENS01.
Date: late 1970s?
Photographer: Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1584.
Date: January 1953.
Copyright: OS-Crown.
Used by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Album: ENS01.
Date: 1970s?
Photographer: Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Local Studies at Swindon Central Library.
Source: Scan of a photograph from our image collection.
Image: P...
Date: 1960s?
Copyright: © SBC.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1385.
Date: March 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies, Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1385.
Date: March 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies, Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1682.
Date: January 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1287.
Date: April 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1384.
Date: March 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1485.
Date: March 1953.
Copyright: OS.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1384.
Date: March 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: BUR01.
Date: 30th September 1988.
Photographer: © 1988 Mr J. Burnett
Repository: From the collection of Mr Burnett.
Local Studies at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1682.
Date: January 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original postcard.
Set: HEA01-2.
Date: c1930?
Postmark: unposted.
Photographer: Fred C. Palmer.
Repository: From the collection of Mrs J. Heavens.
Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: ENS01.
Date: 1970s?
Photographer: Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: ENS01.
Date: 1960s.
Photographer: Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Album: ENS01.
Date: 1970s.
Photographer: © Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: ENS01.
Date: 1970s?
Photographer: Mr J. Ensten.
Repository: From the collection of Mr J. Ensten.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: WEB03.
Date: 1930s.
Repository: From the collection of Naomi Webb.
Local Studies at Swindon Central Library.
Source: Scan of an original photograph.
Set: BLA01.
Date: June 1st 1929.
Repository: From the collection of Ann Blackett, Swindon.
Used here by her very kind permission.
Local Studies at Swindon Central Library.
at the Anse Source d'Argent.
Anse Source d’Argent is a famous beach in the Seychelles and one of the most photographed in the world. Visitor numbers are correspondingly high.
This beach became world-famous thanks to the legendary Bacardi rum commercial ("Bacardi Feeling").
Resolution reduced.
Granitfelsen an der Anse Source d'Argent.
Die Anse Source d’Argent ist ein berühmter Strand auf den Seychellen und einer der meist fotografierten auf der Welt. Die Besucherzahlen sind dementsprechend hoch.
Weltberühmt wurde dieser Strand durch den legendären Bacardi-Rum-Werbespot. (Bacardi Feeling)
Source: en.wikipedia.org/wiki/Monument_Valley
Monument Valley (Navajo: Tsé Biiʼ Ndzisgaii, pronounced [tsʰépìːʔ ǹtsɪ̀skɑ̀ìː], meaning "valley of the rocks") is a region of the Colorado Plateau characterized by a cluster of sandstone buttes, with the largest reaching 1,000 ft (300 m) above the valley floor. The most famous butte formations are located in northeastern Arizona along the Utah–Arizona state line. The valley is considered sacred by the Navajo Nation, the Native American people within whose reservation it lies.
Monument Valley has been featured in many forms of media since the 1930s. Famed director John Ford used the location for a number of his Westerns. Film critic Keith Phipps wrote that "its five square miles [13 km2] have defined what decades of moviegoers think of when they imagine the American West".
Sourc: navajonationparks.org/navajo-tribal-parks/monument-valley/
History
Before human existence, the Park was once a lowland basin. For hundreds of millions of years, materials that eroded from the early Rock Mountains deposited layer upon layer of sediment which cemented a slow and gentle uplift, generated by ceaseless pressure from below the surface, elevating these horizontal strata quite uniformly one to three miles above sea level. What was once a basin became a plateau.
Natural forces of wind and water that eroded the land spent the last 50 million years cutting into and peeling away at the surface of the plateau. The simple wearing down of altering layers of soft and hard rock slowly revealed the natural wonders of Monument Valley today.
From the visitor center, you see the world-famous panorama of the Mitten Buttes and Merrick Butte. You can also purchase guided tours from Navajo tour operators, who take you down into the valley in Jeeps for a narrated cruise through these mythical formations. Places such as Ear of the Wind and other landmarks can only be accessed via guided tours. During the summer months, the visitor center also features Haskenneini Restaurant, which specializes in both native Navajo and American cuisines, and a film/snack/souvenir shop. There are year-round restroom facilities. One mile before the center, numerous Navajo vendors sell arts, crafts, native food, and souvenirs at roadside stands.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "米国" "美国" "미국" "Estados Unidos" "États-Unis" "ארצות הברית" "संयुक्त राज्य" "США"
(Arizona) "أريزونا" "亚利桑那州" "אריזונה" "एरिजोना" "アリゾナ州" "애리조나" "Аризона"
(Utah) "يوتا" "犹他州" "יוטה" "यूटा" "ユタ州" "유타" "Юта"
(Monument Valley) "وادي النصب التذكاري" "纪念碑谷" "Vallée des monuments" "מוניומנט ואלי" "स्मारक घाटी" "モニュメントバレー" "모뉴먼트 밸리" "Долина Монументов" "Valle de los Monumentos"
Source: en.wikipedia.org/wiki/Monument_Valley
Monument Valley (Navajo: Tsé Biiʼ Ndzisgaii, pronounced [tsʰépìːʔ ǹtsɪ̀skɑ̀ìː], meaning "valley of the rocks") is a region of the Colorado Plateau characterized by a cluster of sandstone buttes, with the largest reaching 1,000 ft (300 m) above the valley floor. The most famous butte formations are located in northeastern Arizona along the Utah–Arizona state line. The valley is considered sacred by the Navajo Nation, the Native American people within whose reservation it lies.
Monument Valley has been featured in many forms of media since the 1930s. Famed director John Ford used the location for a number of his Westerns. Film critic Keith Phipps wrote that "its five square miles [13 km2] have defined what decades of moviegoers think of when they imagine the American West".
Sourc: navajonationparks.org/navajo-tribal-parks/monument-valley/
History
Before human existence, the Park was once a lowland basin. For hundreds of millions of years, materials that eroded from the early Rock Mountains deposited layer upon layer of sediment which cemented a slow and gentle uplift, generated by ceaseless pressure from below the surface, elevating these horizontal strata quite uniformly one to three miles above sea level. What was once a basin became a plateau.
Natural forces of wind and water that eroded the land spent the last 50 million years cutting into and peeling away at the surface of the plateau. The simple wearing down of altering layers of soft and hard rock slowly revealed the natural wonders of Monument Valley today.
From the visitor center, you see the world-famous panorama of the Mitten Buttes and Merrick Butte. You can also purchase guided tours from Navajo tour operators, who take you down into the valley in Jeeps for a narrated cruise through these mythical formations. Places such as Ear of the Wind and other landmarks can only be accessed via guided tours. During the summer months, the visitor center also features Haskenneini Restaurant, which specializes in both native Navajo and American cuisines, and a film/snack/souvenir shop. There are year-round restroom facilities. One mile before the center, numerous Navajo vendors sell arts, crafts, native food, and souvenirs at roadside stands.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "米国" "美国" "미국" "Estados Unidos" "États-Unis" "ארצות הברית" "संयुक्त राज्य" "США"
(Arizona) "أريزونا" "亚利桑那州" "אריזונה" "एरिजोना" "アリゾナ州" "애리조나" "Аризона"
(Utah) "يوتا" "犹他州" "יוטה" "यूटा" "ユタ州" "유타" "Юта"
(Monument Valley) "وادي النصب التذكاري" "纪念碑谷" "Vallée des monuments" "מוניומנט ואלי" "स्मारक घाटी" "モニュメントバレー" "모뉴먼트 밸리" "Долина Монументов" "Valle de los Monumentos"
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Nikon D7000
Exposure: 1/400
Aperture: f/10.0
Focal Length: 55 mm