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Process by which cells containing chlorophyll in green plants convert incident light to chemical energy and synthesize organic compounds from inorganic compounds, especially carbohydrates from carbon dioxide and water, accompanied by the simultaneous release of oxygen.
..Ultimately, nearly all living things depend on energy produced from photosynthesis for their nourishment, making it vital to life on Earth. It is also responsible for producing the oxygen that makes up a large portion of the Earth's atmosphere
Medina of Sousse
Sousse was an important commercial and military port during the Aghlabid period (800–909) and is a typical example of a town dating from the first centuries of Islam. With its kasbah, ramparts, medina (with the Great Mosque), Bu Ftata Mosque and typical ribat (both a fort and a religious building), Sousse was part of a coastal defence system.
Outstanding Universal Value
Brief synthesis
Located in the Tunisian Sahel, the Medina of Sousse constitutes a harmonious archaeological complex that reflects Arabo-Muslim urbanism applied to a coastal town exposed through its history to piracy and dangers from the sea. With the Medina of Monastir, it constitutes the unique prototype of military coastal architecture of the first centuries of Islam that has been passed down to us. Several monuments of the medina bear witness to this robust, ascetic and imposing architecture, notably the Ribat, the Great Mosque, the Bou Ftata Mosque, the Kasbah and the ramparts. The Ribat, both a fort and a religious building, is an eminent example of this type of construction. The Medina also comprises juxtaposed dwellings divided into quarters that separate the winding alleys and narrow paths, a fast disappearing type of layout threatened by modern life and the evolution of architectural techniques. It also contains an ensemble of unique monuments dating from Aghlabid and Fatimid times, enabling study of the evolution of Islamic art in its first period.
Criterion (iii):With the Ribat, the Kasbah, ramparts, Bou Ftata Mosque and the Great Mosque, the Medina of Sousse bears exceptional witness to the civilization of the first centuries of the Hegira. The Medina was conceived according to a regular plan with its meridian axis running from Bab el Kabli to the ribat and the ancient interior port, and its east-west axis running from Bab el Jedid to Bab el Gharbi. It constitutes a precocious and interesting example of an Islamic city.
Criterion (iv): The most ancient and best conserved of all, the Ribat of Sousse, is an outstanding example of this type of construction, with its rectangular enclosure flanked with towers and turrets, pierced with a single gate on the south, an inner courtyard rising over two levels with thirty-five cells opening onto it, a mosque on the southern side of the first storey, with its south-east facing tower, added in 821, serving as both a minaret and watch tower, from where signals from the Ribat could be transmitted to Monastir.
Criterion (v): The Medina of Sousse constitutes an outstanding example of Arabo-Muslim and Mediterranean architecture that reflects a particular traditional way of life. This typology, which has become vulnerable through the impact of irreversible socio-economic changes and modern life, constitutes a precious heritage that must be safeguarded and protected.
Integrity (2009)
The boundaries of the property correspond to the surrounding wall of the town and include all the important attributes.
The historic urban ensemble of the town of Sousse has conserved, without major alteration, its urban fabric with its spatial morphology and its monumental, architectural and architectonic components. However, new developments outside the boundaries threaten the visual integrity of this coastal fort.
Authenticity (2009)
Adaptation to new life styles and socio-cultural and economic demands as well as the restoration and renovation work carried out over the centuries have not affected nor perturbed its intrinsic functional and structural authenticity. However, new challenges arise when a balance between the function, the needs of the inhabitants, heritage questions and the need for new buildings, needs to be found Authenticity is particularly vulnerable due to inappropriate conservation and inadequate new constructions.
Protection and management requirements (2009)
The Medina of Sousse benefits from three levels of national protection including a local and municipal protection system. In addition to the large number of monuments benefiting from specific listing as historic monuments (Kasbah, Great Mosque, Ribat, Soufra, Bou Ftata Mosque, etc.), the property is protected by Law 35-1994 concerning the protection of archaeological and historic heritage and traditional arts, by the Law concerning urban town planning and by the Municipal Order concerning construction permits inside the Medina of Sousse. A structure attached to the National Heritage Institute is permanently responsible for the safeguarding of the property and its management. Control measures to reduce the impact of interventions on the historic monuments and that of new developments on the ensemble of the property should be introduced on a strictly permanent basis. Conservation interventions also need to be carefully and continuously controlled. The proposed buffer zone shall extend over 200 m beyond the ramparts and should be subject to constraints as regards adequate planning to preserve the visual integrity of the property.
Long Description
With its outstanding buildings, Sousse bears exceptional witness to the civilization of the first centuries of the Hegira. The medina constitutes an early and interesting example of a new type of Islamic city. The most ancient and best conserved of all, the ribat of Sousse is an excellent example of this type of construction.
The port of Sousse was the Phoenician outpost of Hadrumetum, a free Roman city, the capital of Byzacium under Diocletian, the Vandal city of Hunericopolis, and finally the Byzantine city of Justiniana or Justinianopolis. No monument, however, survives from these thousand years of history, for during his conquest of Ifriqiya, Oqba ibn Nafìi entirely destroyed Justinianopolis after a two-month siege. Built in the late 7th century on these ruins and given its present name, Sousse was a completely new city.
The most ancient monument still standing, the Ribat, belongs to that period. It was part of the Islamic defences against the Byzantine fleets. The ribats housed the garrisons of the Defenders of the Faith, the Mourabitin, and their austere architecture reflected the structures' dual military/religious function. In 821 the Emir Ziyadat Allah I completed the fortifications by adding a square bastion with tower which served both as a watchtower and as a minaret. From the enclosed port, protected by these walls, Muslim troops embarked in 827 on their conquest of Sicily.
Under the Aghlabids (800-909), Sousse rapidly flourished. Certain significant monuments were constructed in this golden century: the mosque of Bu Ftata, the first kasbah, and the Great Mosque, founded by the Emir Abdul Abbas Mohammed. In 859, the urban walls seem to have been in their final stage of completion, and the limits of the medina were broadly drawn. The surrounding fortifications made the military function of the ribat less vital and it reverted fully to its religious function.
The port declined with the founding of Mahdia in 916, but re-established itself in the 11th century. In the 12th century its status was again compromised when the Sicilian Normans captured Sousse and held it for eleven years. The Spanish troops of Charles V took Mahdia in 1554; after this it recovered to some extent.
The medina was conceived according to a regular plan with its meridian axis running from Bab el Khabli to the ribat and the ancient interior port, and its east-west axis going from Bab el Djedid to Bab el Gharbi. It is a rectangular enclosure flanked with towers and turrets, a single gate on the south, an inner courtyard rising over two levels with 35 cells opening on to it. It has a mosque on the southern side of the first storey with the south-east tower, added in 821, serving as both minaret and watchtower; from it signals could be transmitted to the ribat at Monastir.
Source: UNESCO/CLT/WHC
Media
Medina of Sousse (UNESCO/NHK)
Activities (1)
World Heritage Earthen Architecture Programme (WHEAP)
Events rss
Bikeabout To Launch Circum-Mediterranean Tour Of World Heritage Sites Sep 24, 1997 - Jun 30, 1998
Tesis, antítesis, síntesis.
Así vamos.
En círculos.
# # #
Thesis, antithesis, synthesis.
That's the way we go.
On circles.
Zwiggelte
"The Westerbork Synthesis Radio Telescope (WSRT) is an aperture synthesis interferometer built on the site of the former World War II Nazi detention and transit camp Westerbork, north of the village of Westerbork, Midden-Drenthe, in the northeastern Netherlands.
The WRST comprises fourteen 25-metre radio telescopes deployed in a linear array arranged on a 2.7 kilometres (1.7 mi) East-West line, of which 10 are in a fixed equidistant position, 2 are nearby on a 300 m rail track, and 2 are located a kilometer eastwards on another 200 m rail track. It has a similar arrangement to other radio telescopes such as the One-Mile Telescope, Australia Telescope Compact Array and the Ryle Telescope. Its Equatorial mount is what sets it apart from most other radio telescopes, most of which have an Altazimuth mount. This makes it specifically useful for specific types of science, like polarized emission research as the detectors maintain a constant orientation on the sky during an observation. Ten of the telescopes are on fixed mountings while the remaining two dishes are movable along two rail tracks. The telescope was completed in 1970 and underwent a major upgrade between 1995 – 2000." (Wikipedia)
Source & more information: en.wikipedia.org/wiki/Westerbork_Synthesis_Radio_Telescope
Zwiggelte
"The Westerbork Synthesis Radio Telescope (WSRT) is an aperture synthesis interferometer built on the site of the former World War II Nazi detention and transit camp Westerbork, north of the village of Westerbork, Midden-Drenthe, in the northeastern Netherlands.
The WRST comprises fourteen 25-metre radio telescopes deployed in a linear array arranged on a 2.7 kilometres (1.7 mi) East-West line, of which 10 are in a fixed equidistant position, 2 are nearby on a 300 m rail track, and 2 are located a kilometer eastwards on another 200 m rail track. It has a similar arrangement to other radio telescopes such as the One-Mile Telescope, Australia Telescope Compact Array and the Ryle Telescope. Its Equatorial mount is what sets it apart from most other radio telescopes, most of which have an Altazimuth mount. This makes it specifically useful for specific types of science, like polarized emission research as the detectors maintain a constant orientation on the sky during an observation. Ten of the telescopes are on fixed mountings while the remaining two dishes are movable along two rail tracks. The telescope was completed in 1970 and underwent a major upgrade between 1995 – 2000." (Wikipedia)
Source & more information: en.wikipedia.org/wiki/Westerbork_Synthesis_Radio_Telescope
"an extremely rare find, an autochromia (color photography process based on additive synthesis patented on 17 December 1903 by the Lumière brothers), performed by Baron von Gloeden, a forerunner of the most modern slides."
“un rarissimo reperto, una autocromia (procedimento di fotografia a colori basato sulla sintesi additiva brevettato il 17 dicembre 1903 dai fratelli Lumière), eseguita da barone von Gloeden, un antesignano delle più moderne diapositive.”
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www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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During a cold night in March i decided to drive 170km from Amsterdam to Westerbork in the east of Holland to make pictures of this radio telescope. It was a very cold night but the sky was clear with no moon. Light pollution in Holland is quite intense and it is clearly visible in those pictures. The Westerbork Synthesis Radio Telescope consists of a linear array of 14 antennas with a diameter of 25 meters arranged on a 2.7 km East-West line. It is located next to the Westerbork concentration camp, using by Nazis in WW2 as a transit camp and nowadays a museum.
Meus amigos, essa pequena flor tem o tamanho da ponta de um palito de fósforo.
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My friends, that little flower is the size of the tip of a match.
Thanks to Gazzap for the title help....he stole it away at the last second. You can see his wonderous photos here....
When separate unities, deprived from meaning on their own, come together to create a whole. Another order of unity. Through which we may find resonance, or interference.
Night has fallen over downtown Seattle. This view was photographed from the Space Needle in early May several minutes after the sun had set.
There's something about cities that makes my heart and mind soar. Capturing them on camera like this gives me a joy that cannot be explained. I hope you may take a minute to enlarge this photo and engage this image.
TIA INTERNATIONAL PHOTOGRAPHY / TIA Facebook / TIA Twitter / TIA Local
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Synthesis (74 pictures)
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Color synthesis can be tricky. When you try to combine additive and subtractive color mixing you can create very interesting pictures, on the other hand you will face some strange effects. Additive color comes from the flash lights with red + blue filters and will hit a surface where they reflected / absorbed in a subtractive way. First try was with a yellow suit but that looked very strange because the lighting is missing that spectrum. Then I tried a white suit but that looked strange too. The white walls become purple with a nice soft fade from blue to red. On the white suit it was just a mess of strange color. There will be no "white" with this two colors. The black suit looks much better, still it has a strange but attractive look. Well, it was a nice experiment.
Stay safe and healthy!
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you really should see the bigger image on flickr... and the whole set at my free website! :-)
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Bookmark the URL to my website: llb1983.bplaced.net
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Do not use or repost my pictures without my written permission!
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During a cold night in March i decided to drive 170km from Amsterdam to Westerbork in the east of Holland to make pictures of this radio telescope. It was a very cold night but the sky was clear with no moon. Light pollution in Holland is quite intense and it is clearly visible in those pictures. The Westerbork Synthesis Radio Telescope consists of a linear array of 14 antennas with a diameter of 25 meters arranged on a 2.7 km East-West line. It is located next to the Westerbork concentration camp, using by Nazis in WW2 as a transit camp and nowadays a museum.
Nesse dia eu acordei com muita vontade de fotografar. Nem tomei café, peguei minha camera e acabei descobrindo essa flor no quintal de minha casa. Ela me lembra um canhão espacial de filmes de ficção científica. Coisas de quem adora Jornada nas Estrelas e Star Wars.
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That day I woke with great determination to shoot. Neither made coffee, I took my camera and I discovered this flower in the backyard of my house. She reminds me of a cannon space science fiction films. In time: I love star trek and star wars.
My favourite place - synthesis of gothic and contenporary architecture - Olomouc Archdiocesan Museum.
The core of the Olomouc Archdiocesan Museum is the former residence of Olomouc capitular deans to which, in the course of the centuries, other buildings were added. The land for the construction of the deanery in the area of the ducal castle was given to the capitular dean Bartholomew in 1267 by King Ottokar II of Bohemia.
The whole museum complex underwent a complex conservation reconstruction from 1998 to 2006. Part of the project of the Prague architectural office HŠH architekti was, besides building offices, depositories, a photo studio and a refinishing workshop, the reconstruction of the building of the capitular deanery and its functional link to the Romanesque episcopal palace. HŠH architekti are the authors of the design of the architectural form of the permanent exhibition of the Archdiocesan Museum.
Nikon FM2 + Nikkor 35 mm 2.0
Rodinal 1:25 (?)
Film 04 JG 2013 Svatba + Olomouc
Resolvi mudar um pouco. Depois eu mostro mais fotos da Karen. Essa é mais uma da minha série Photo Synthesis. Não sei o nome dessa planta, mas me inspirei no filme Wall-E. Adorei essa animação da Pixar.
Sempre gosto de responder aos comentários, mas tem amigos que estão reclamando que coloco o link de uma foto para comentar. Gostaria de saber se vocês não estão gostando disso, ok.
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I decided a little change. Then I show more pictures of Karen. This is another of my series Photo Synthesis. I do not know the name of this plant, but I inspired the movie Wall-E. I loved that the Pixar animation.
Always like to respond to the comments, but has friends who are complaining that put the link of a photo to comment. I wonder if you are not enjoying it, okay
Don't use this image on websites,blogs or other media, without my explicit permission.
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1. ... Calm & Move ..., 2. ... Synthesis ..., 3. ... Calm & Move ..., 4. Collage Series: Calm & Move
Synthesis of CsPbBr3 perovskite cubes are arranged side by side through out the wire like a buildings
Courtesy of Mr. Durga Prasad Muvva , UGC-Networking Resource Centre, School of Chemistry and The Centre for Nanotechnology, University of Hyderabad
Image Details
Instrument used: Tecnai
Magnification: 19.5 kx
Voltage: 200 kV
Spot: 1
Working Distance: 3