The Void - Images of Emptiness
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Spatial representation.
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hasselblad 500c/m Planar c80mm ｆｕｊｉ ｒｅｖｅｒｓａｌ ｆｉｌｍ
no photoretouch. It is not digital.
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Another take ↓ +Ｂ＆Ｗ
Sintiklia - Lucas Hair
LeLutka - Alain EVO X 3.1
Unholy&JTM - War Paint
Okara Store - #T1612:. BEARD-2K21-BOM-1515 evo
[LANEVO] - Misago Jaw mask
Meva - Mayhem set
A M B I C E - Navy Backdrop
ManCave
TMD
Labyrinth Spider | Agelena Labyrinthica | June 2021 | Monteggio, Switzerland
My best photos are here: www.lacerta-bilineata.com/ticino-best-photos-of-southern-...
More TICINO/TESSIN Wildlife Photos (all taken in my garden in Monteggio/Ti, Switzerland): it.lacerta-bilineata.com/ramarro-occidentale-lacerta-bili... (the website exists in ESPAÑOL, FRANÇAIS, ITALIANO, ENGLISH, DEUTSCH)
My latest ANIMAL VIDEO (warning, it's a bit shocking): www.youtube.com/watch?v=4T2-Xszz7FI
ABOUT THE PHOTO:
This beautiful labyrinth spider did me the courtesy of positioning itself in a ray of sunlight coming through the leaves of the plants in my garden where it had built its sophisticated (and judging from the remains of prey that were visible as lovely "home decorations" everywhere: highly effective) web.
I know, most people don't like spiders, and I must admit for the better part of my life I wasn't exactly too comfortable around them either. But what I love most about macro photography is that it's rapidly changing my perception of the tiniest creatures in my garden: viewed up close, they suddenly have a face - literally - which made me aware of them as expressive beings with a "personality" in a way I wasn't before.
Before, even though I've always been a "nature nerd", with regards to the tiniest insects and spiders in my garden I was a typical Homo Sapiens sapiens I guess. While it's easy for our species to sympathize with bigger animals whose biology more resembles our own and whose expressive faces remind us of our own emotions, we at best behave like ignorant, indifferent giants towards the smallest creatures that share our world, and at worst we see nothing in them but pests or scary, alien-looking monsters we try to extinguish wherever we find them.
Let's face it: we are a highly irrational species. We pay money to go on safaris and are - rightly - fascinated by large predators such as a pack of lions lurking in the high grass; we call those the "kings of the animals" and hold our breath in sheer excitement when we see the pack suddenly attack and gorily devour an antelope (which is nasty business: it's not uncommon that the prey already gets its belly torn open while it's still alive); yet the micro equivalents of those lions hunting prey in our gardens we view with disdain or are repulsed by.
So, to anyone viewing this photo whose first immediate reaction is disgust, I say: try to replace your fear or repulsion with a little fascination for the "micro lions" in your own backyard. Then get a macro lens and go on a garden safari; chances are you'll find a world of hidden beauty that is every bit as fascinating and rewarding for a photographer as any tropical jungle or African savannah ;-)
ABOUT THE SPECIES (from Wikipedia, slightly abbreviated by me):
Range And Habitat
Agelena labyrinthica build flat plate surface webs connected to funnel-shaped retreats similar to labyrinths, which are typically constructed between low lying grass and vegetation. These spiders are fairly common in Europe and Central Europe, and are typically concentrated in areas near forests and low lying vegetation, as well as in dry grassland.
Description
Agelena labyrinthica has a body length of up to 18 mm (0.71 in). It has approximately 25 trichobothria per walking leg. These hairs help the spider detect prey that has been caught in its web, or even prey that is near enough to cause vibrations in its web. The trichobothria hairs essentially act as a long-distance sensory system for A. labyrinthica that helps them detect prey with great accuracy and speed.
Spatial Perception
Having to travel between its sheet web and its funnel shaped retreat, A. labyrinthica have shown signs of detour compensation that allow the spider to orient itself and navigate even in complete darkness. Using its eyes to quickly navigate its web, A. labyrinthica is able to detect the plane of polarized light present, and position itself relative to it in order to maintain its orientation. A. labyrinthica also relies on its idiothetic orientation, as well as directional cues such as gravity, to gain its bearings no matter where it is.
A multi-functional spatial concept combined with an aesthetically
impressive architecture and an ecologically well thought out infrastructure creates the ideal conditions for events for from 40 to 4,000 guests.
Info : www.tempodrom.de/site/assets/files/3244/download_tempodro...
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
Tridio is a game method to increase spatial insight. Step by step, the relationship between 3D models and their 2D renderings is discovered.
The Cathedral is a striking white-painted monumental church with a single high belltower offset to the right of the main entrance. Built on a plan comprising three longitudinal naves surmounted by semi-ogival arches on square pillars, the basic spatial structure of the Cathedral is typical of the 16th century. Based upon interior features — especially the details of the pillars, arches, and the carved and coffered ceiling — some experts assert that the Cathedral should be characterized as Gothic-Mudéjar in style. It certainly has Gothic features in the pointed arches of its naves, as well as in the ambulatory that surrounds the presbytery.
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Inside, the three naves are supported by pointed arches, which in turn are supported by pillars with square bases. The central nave has cedar panelling betraying Moorish influences. An extraordinary wooden coffered ceiling is supported by a golden frieze and beautiful paintings hang among the arches.
Un soir à la station ViaSilva, ligne B du métro de Rennes.
Son architecture qui fait penser à un vaisseau spatial est l'oeuvre de jeunes architectes rennais.
Dumps in former mining areas have become part of the landscape over time. This is exactly what the Förderverein Bergbau Erbe Saar e.V. Ensdorf/Saar did not want to happen. It wanted "a symbol for the 250-year mining tradition on the Saar... and for the necessary new beginning and structural change thereafter! "He succeeded in doing this by organising a competition and the winning project by Pfeiffer Sachse Architekten. The Duhamel slag heap is once again becoming a landmark. A new unity emerges from the interplay between the heaviness of the slag heap and the lightness of the polygon. Both the slag heap and the project reinforce each other's effect. Although static as an object, the polygon appears almost kinetic and has a completely different effect depending on the view. Sometimes almost unstable, like a triangle on a point, sometimes broadly dominant. From a distance, the figure is almost intriguing because it cannot be grasped directly. Then, on the approach and ascent, it disappears, only to unfold all the more dramatically in all its facets on arrival at the plateau. The polygon becomes both a stage for the far-reaching view and a magnet for the view from a distance, a land art that also fulfils a functional function as a viewing platform.With simple means from the production of industrial culture, a spatial framework made of sectional steel has been created here, a sculpture that emerged from local steel production. A complex effect was achieved with simple means. The artificial light effect has also emerged from the structure and enhances its effect at dusk with discreet use.This project between land art and steel construction is an extremely successful sign for the client, the architects and engineers. It is an understandable and at the same time an emotional project for everyone, far beyond the region.
Halden in ehemaligen Bergbaugebieten sind über die Zeit teil der Landschaft geworden. Angenommen von der Bevölkerung, riskieren sie ihre Symbolkraft über die Zeit zu verlieren.Das ist genau das, was der Förderverein Bergbau Erbe Saar e.V. Ensdorf/Saar nicht haben wollte. Er wollte « Zeichen für die 250-jährige Bergbautradition an der Saar… und für den erforderlichen Neubeginn und Strukturwandel danach! » Dies ist ihm mit der Auslobung eines Wettbewerbs und dem Gewinnerprojekt von Pfeiffer Sachse Architekten einprägsam gelungen. Die Halde Duhamel wird wieder zur Landmarke. Aus dem Wechselspiel zwischen der Schwere der Halde und der Leichtigkeit des Polygons entsteht eine neue Einheit. Beide, die Halde und das Projekt verstärken sich gegenseitig in ihrer Wirkung. Der massive Sockel wird zur Bühne einer leochten begehbaren Skulptur.Obwohl statisch als Objekt, wirkt das Polygon fast kinetisch und hat je nach Ansicht eine völlig andere Wirkung. Mal fast unstabil, wie ein Dreieck auf einer Spitze, mal breitspreitzig dominant. Aus der Entfernung ist die Figur, fast intrigierend weil nicht direkt erfassbar. Dann bei der Anfahrt und Auffahrt verschwindet sie, um sich um so dramatischer bei der Ankunft auf dem Plateau in alle Facetten zu entfalten. Sowohl eine Bühne für den Weitblick als ein Blickmagnet aus der Entfernung wird das Polygon zum Landart, das zudem noch als Aussichtsplattform eine funktionelle Funktion erfüllt.Mit einfachen Mitteln aus der Produktion der Industriekultur ist hier ein Raumfachwerk aus Profil-Stahl, eine Skulptur entstanden, die aus der lokalen Stahlherstellung hervorgegangen ist. Eine komplexe Wirkung wurde mit einfachen Mitteln erreicht. Auch die künstliche Lichtwirkung ist aus der Struktur hervorgegangen und verstärkt ihre Wirkung bei Dämmerung mit dezentem Einsatz.Dieses Projekt zwischen Landart und Stahlbaukonstruktion ist ein äußerst gelungenes Zeichen für den Bauherrn, die Architekten und Ingenieure. Es ist ein verständliches und gleichzeitig ein emotionales Projekt für alle, weit über die Region hinaus. Quelle bda-bund.de
The Cathedral is a striking white-painted monumental church with a single high belltower offset to the right of the main entrance. Built on a plan comprising three longitudinal naves surmounted by semi-ogival arches on square pillars, the basic spatial structure of the Cathedral is typical of the 16th century. Based upon interior features — especially the details of the pillars, arches, and the carved and coffered ceiling — some experts assert that the Cathedral should be characterized as Gothic-Mudéjar in style. It certainly has Gothic features in the pointed arches of its naves, as well as in the ambulatory that surrounds the presbytery.
***
Inside, the three naves are supported by pointed arches, which in turn are supported by pillars with square bases. The central nave has cedar panelling betraying Moorish influences. An extraordinary wooden coffered ceiling is supported by a golden frieze and beautiful paintings hang among the arches.
Photographie surréaliste 30 x 45 cm, disponible sur mon nouveau site - Surreal photography 12 x 18 inches avalaible on my
new website :
emmanuellebaudry.wordpress.com/2021/09/15/voies-parallele...
Ou ici : imgur.com/gallery/o4Q4eQ6
The Choir is a fundamental place in the spatial and functional conception of a Cathedral and its origin responds to a tradition linked to the Paleo-Christian basilicas, specifically in the “schola cantorum”. It is usual for the Choir to face the High Altar so that the liturgy can be followed. To this we must add that the cathedral clergy has altar and choir services as fundamental obligations, therefore, the Choir is an essential part, to the point that if there is no Choir there is no Cathedral.
The Choir is accessed through a Renaissance grille from the first half of the 16th century, completed by Francisco de Salamanca. The seats, made of different types of wood and where several authors took part, are from the beginning of the 16th century and have a magnificent sculptural and iconographic program. It should be noted that the 117 seat backs have completely different decorations, made with inlays based on Mudejar lacework. This type of Mudejar adornment in the Choir is only found in the Cathedral of Puebla in Mexico, where the influence of the Cathedral of Seville in New Spain is again evident.
In the center, a large Renaissance lectern, carved in wood, which was used to place the huge liturgical chant books. Dating from the second half of the 16th century, it was made, among others, by Juan Bautista Vázquez “the Old”, who also masterfully carved the Virgin with Child, who presides over the lectern.
The macromonday theme is knolling or arranging items in spatial order. Am not sure if this passes muster but if not I have another one that I’m cogitating on. i have a shot showing that the beads, arranged this way, are well within the 3 inch parameters-- will post it later.
ANSH scavenger15 "Self portrait through objects or reflected"
Elles sont toutes les 2 grandes ouvertes par souci d'efficacité !
En effet la narine gauche partage des informations avec l’hémisphère gauche du cerveau et la narine droite fait de même avec l’hémisphère droit.
Le droit est porté sur les émotions et l’attention spatiale, l’hémisphère gauche est relatif au langage.
L’hémisphère droit traite l’aspect affectif de l’odeur et l’hémisphère gauche les identifie
My nostrils are both wide open for efficiency!
Indeed, the left nostril shares information with the left hemisphere of the brain and the right nostril does the same with the right hemisphere.
The right is about emotions and spatial attention, the left hemisphere is about language.
The right hemisphere deals with the affective aspect of smell and the left hemisphere identifies them
DSC03768
Displayed hanging from the ceiling in Museum of Modern Art (MoMA), Manhattan, New York. I have taken this photo on January 07, 2020.
Geneva, Switzerland
A modern architecture representing A 'Continuous Landscape' concept that integrates these three spatial types by creating a seamless experience that weaves through the building, connecting a variety of spaces.
UP#3
Lang/Baumann
Installation
Structure interne en poutres treillis spatiales multidirectionnelles, habillées d’un coffrage bois peint en blanc.
Matériaux : acier, bois, peinture
Dimensions : 9.2 × 11.5 × 10 m
La Porte Océane, ensemble emblématique de la reconstruction du Havre, a été dessinée par Auguste Perret et achevée en 1956. Ses deux tours symétriques, de part et d’autre de l’avenue Foch, forment une ouverture sur la mer.
Jouant avec cette perspective, les artistes Sabina Lang et Daniel Baumann ont apposé une structure blanche rectangulaire dans l’axe des immeubles, sur la plage.
La sculpture émerge des galets comme un immense portique se découpant sur l‘horizon. Monumentale et élégante, cette surface épurée, l'œuvre d’un blanc éclatant sait trouver le point d’équilibre entre objet usuel et ovni, ajout fonctionnel et construction de l’absurde.
Internal structure made from multi-directional spatial lattice beams, covered with wooden formwork painted white.
Materials: steel, wood, paint
Dimensions: 9.2 x 11.5 x 10 m
The Porte Océane is located at the western end of the tramway of Le Havre facing the seashore. Arranged symmetrically on either side of Avenue Foch the building complex forms a gateway to the sea. It was designed by Auguste Perret and completed in 1956.
Following the central axis of these buildings, a white rectangular construction rises from the beach.
The 10m-high sculpture emerges like giant clamps etched against the sky and forming a second gate towards the ocean. Monumental yet graceful, gleaming white with no discernible surface structure, the sculpture strikes a delicate balance between familiar object and absurd construction.
"Un été au Havre 2017"
"A partir d'une figure simple et par la juxtaposition de cette même figure dans les différentes dimensions de l'espace euclidien, on arrive à créer un type de labyrinthe d'une grande complexité spatiale et dont le parcours laisse diverses alternatives: vers la droite et la gauche, vers le haut et le bas."
Jorge Luis Borges
Bibliothèque Nationale de France
Architecte: Dominique Perrault (1995)
Dedicada a un buen amigo que se que lo esta pasando mal.
Animo Campeón!
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#282 on Explore 9-2-2009
The Cantuña Chapel houses a small art collection from the Quito School. It’s shrouded in one of Quito’s most famous legends, that of the indigenous builder Cantuña, who supposedly sold his soul so the devil would help him complete the church on time. Just before midnight on the day of his deadline, Cantuña removed a single stone from the structure, meaning the church was never completed. He duped the devil and saved his soul.
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From the aesthetic point of view, the Chapel of Cantuña is a small church with a single vaulted nave, with protruding ribs and lunettes. On the presbytery, which with the ship forms a single body, rests a dome with a flashlight through which the light that fills all this space is filtered. In its back is the sacristy and, when entering the ship, a small choir that is reached through a ladder placed to the right of the entrance to the Chapel. Given its structural simplicity, the ambivalence between spatial organization and decoration is evident in Cantuña, which, as in the main church, has undergone profound transformations. The altarpiece of the main altar together with the pulpit constitute the most interesting decorative element of the space. Attributed to Bernardo de Legarda, his factory would be related to the enormous prestige achieved by the Brotherhood of the Virgen de los Dolores in the second half of the 18th century. In this altarpiece, characteristically baroque, there is a clear predominance of decorative elements over images; It is complemented by the magnificent group of Calvary (of which the Virgin of Sorrows is a part) placed in its central niche, also attributed to the master. Legarda carved the columns, cloths, frieze, cornice, arch, auction and dozens of exquisite ornamental elements. The niches and shelves are full of beautiful sculptures that are also his own; He finally completed the set giving the central niche a frame of mirrors and silver.
The Cantuña Chapel also houses Caspicara's works, including one of his masterpieces: the Impression of the San Francisco Sores, a harmonious and transient group of devout sentiment, whose culmination is the admirable expression of the Saint, abyssed in pain and illumination. No less impressive is the effigy of San Pedro de Alcántara, which for a long time was mistakenly attributed to Father Carlos.
Caught on our feeder. Metal in the middle but he's here to share some winter cheer with spring weather today of 60 degrees.
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The black-capped chickadee (Poecile atricapillus) is a small, nonmigratory, North American songbird that lives in deciduous and mixed forests. It is a passerine bird in the tit family Paridae. It is the state bird of both Maine and Massachusetts in the United States, and the provincial bird of New Brunswick in Canada. It is well known for its capacity to lower its body temperature during cold winter nights as well as its good spatial memory to relocate the caches where it stores food, and its boldness near humans (sometimes feeding from the hand).
Photographie surréaliste 20 x 40 cm - Surreal photography 40 x 20 cm : emart-emmanuellebaudry.e-monsite.com/album-photos/amareh-...
Buy this photo on Getty Images : Getty Images
The Rietveld Schröder House in Utrecht was commissioned by Ms Truus Schröder-Schräder, designed by the architect Gerrit Thomas Rietveld, and built in 1924. This small family house, with its interior, the flexible spatial arrangement, and the visual and formal qualities, was a manifesto of the ideals of the De Stijl group of artists and architects in the Netherlands in the 1920s, and has since been considered one of the icons of the Modern Movement in architecture.
Submitted: 15/04/2025
Accepted: 16/05/2025