View allAll Photos Tagged TITLED
This HYBYCOZO sculpture is titled Point of View is in the Kitchell Family Heritage Garden.
Point of View 2022
Stainless Steel, Powder Coat Pigment, LED
This sculpture's patterns draw inspiration from Ukrainian cross-stitching, a traditional folk art from Ukraine, the birthplace of HYBYCOZO artist Yelena Flipchuk. This tribute to her cultural origins invites visitors to reflect on grief, resilience, joy, and the yearning for peace.
Please spin artwork gently.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
was it too much to ask for...cuz i dnt have the courage to ever let it go.
Note: this photo was published in a Nov 10, 2010 blog titled "'Choose New Jersey’ is new business campaign."
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In case you had't noticed, summer is over. Fall has arrived. The air is cooler, especially in the early morning -- but also in the evening, when only a few weeks ago people would wander all over the city in shorts and tank tops. Sunset is well before 7 PM, and the sun has moved noticeably north along the New Jersey skyline.
But the tango dancers are still here - in Riverside Park, in Central Park, at the South Street Seaport, and out at the end of Pier 45, where Christopher Street runs into the Hudson River in the West Village. I was here only two weeks ago, but when I got a particular kind of photography assignment in an ICP "street photography" class ("take a series of photos in which each photo is somehow "derived" from the previous one"), I decided that the tango dancers on Pier 45 might well provide the images I needed ...
As I've pointed out in Flickr albums (here, for example), I do not dance the tango (or any other civilized form of dance), and I know little or nothing about the history, the folklore, or even the steps and rhythms of the tango. But after accidentally stumbling upon a local gathering of tango aficionados on a business trip to Washington in the summer of 2009 (see my Flickr set Last tango in Washington), I subsequently learned that there were similar informal events throughout New York City. When I got home, I searched on the Internet and found a schedule of upcoming tango events at several different NYC locations -- including Pier 45, where I made my first visit in mid-April, which led to this set of photos.
I returned in mid-July of 2010, even though I knew it would be much hotter ... and indeed, it was so hot that the music did not even begin until 6 PM. But then the dancers began to appear, one after another, until there were a couple dozen pairs of dancers filling a large space under a sheltering canopy, as the sun went down. And since it was the end of a hot summer evening, tango wasn't the only thing going on: there were people sunbathing, watching the boats on the river, playing frisbee, or simply enjoying themselves. I photographed a little of everything; you can see it in this Flickr set.
So now I've come back once again ... but with my upcoming travel schedule, including trips to places as diverse as Rochester, Camden (where these notes are being written), Rome, and Miami, I doubt that I'll have a chance return this fall. It may well be next spring before I see the dancers once again twirling and gliding across the wooden deck of Pier 45.
If you'd like to watch NYC tango dancing on your own, check out Richard Lipkin's Guide to Argentine Tango in New York City.
I photographed this gorgeous critter last month at Santee Lakes, which is my go-to spot for dragonflies.
Other pictures that I've taken over the years of dragonflies are in my cleverly titled Butterflies & Dragonflies Album.
Note: this photo was published in a September 5,2014 blog titled "Reader’s Request Fridays: How To Get The Most Out Of Sex Therapy."
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It's been two months since I last photographed the tango dancers in New York City at the beginning of Fourth of July weekend -- even though I know they've been gathering each Sunday down at the end of Pier 45, where Christopher Street runs into the Hudson River in the West Village. But I've been busy or out of town for most of July and August ... so the summer drifted away before there was a combination of free time and clear skies that enabled me to find a quiet perch out at the end of the pier on the weekend before Labor Day, to watch the dancers once again.
As I've pointed out in some previous Flickr albums (here, for example), I do not dance the tango (or any other civilized form of dance), and even after watching the dancers for over a year, I know almost nothing about the history, the folklore, or even the steps and rhythms of the tango. But after accidentally stumbling upon a local gathering of tango aficionados on a business trip to Washington in August 2009 (see my Flickr set Last tango in Washington), I discovered that there were similar informal events throughout New York City. When I got home, I searched on the Internet and found a schedule of upcoming tango events at several different NYC locations -- including Pier 45, where I made my first visit in mid-April of 2010, which led to this set of photos.
I returned in mid-July of 2010, even though I knew it would be much hotter ... and indeed, it was so hot that the music did not even begin until 6 PM. But then the dancers began to appear, one after another, until there were a couple dozen pairs of dancers filling a large space under a sheltering canopy, as the sun went down. And since it was the end of a hot summer evening, tango wasn't the only thing going on: there were people sunbathing, watching the boats on the river, playing frisbee, or simply enjoying themselves. I photographed a little of everything; you can see it in this Flickr set.
After that, I came back in August 2010 to watch the tango dancers in Riverside Park (also on the Hudson River, but up near 68th Street, which you can see here), and then back to Pier 45 in September (here) and October (here). There was even a tango party on Valentine's Day of 2011, at the Winter Garden building down near the site of the 9-11 tragedy; you can see that (here).
But the winter chill of Valentine's Day is now only a distant memory; springtime has now come and gone; and summer is almost over, with Labor Day approaching. But I also suspect the tango dancers will be here every Sunday throughout the fall, until it finally gets too cold and dark and rainy to continue dancing...
And if you'd like to watch some other examples NYC tango dancing, check out Richard Lipkin's Guide to Argentine Tango in New York City.
Titled - Les Quais du Port.
Lots of traffic on the quayside/seafront with a bus and lorry present.
Small boats are prevalent unlike the super yachts of today.
This is the time before it became a holiday destination with original buildings and a way of life based around traditional crafts and fishing?
Old Postcard with no date and no details.
Best viewed in large
View as a Slide Show Please
flickriver.com/photos/velurajah/popular-interesting/
Bang Sue, Bangkok, Thailand Country in Asia The Golden Buddha, officially titled Phra Phuttha Maha Suwanna Patimakon (Thai: พระพุทธมหาสุวรรณปฏิมากร; Sanskrit:
The Golden Buddha, officially titled Phra Phuttha Maha Suwanna Patimakon (Thai: พระพุทธมหาสุวรรณปฏิมากร; Sanskrit: Buddhamahāsuvarṇapaṭimākara), commonly known in Thai as Phra Sukhothai Traimit (Thai: พระสุโขทัยไตรมิตร), is a gold Maravijaya Attitude seated Buddharupa statue, with a weight of 5.5 tonnes (5,500 kilograms). It is located in the temple of Wat Traimit, Bangkok, Thailand. At one point in its history, the statue was covered with a layer of stucco and colored glass to conceal its true value, and it remained in this condition for almost 200 years, ending up as what was then a pagoda of minor significance. During relocation of the statue in 1955, the plaster was chipped off and the gold revealed.
I originally posted this pic, than titled " Bite Me!," in August of 2009 during California's Prop 8 battles. Tonight, as we wait for news of when or even if the New York State Senate will vote on a same sex marriage bill, I searched flickr for gay marriage pics. On page 3 of the interesting ones I was surprised to find my original pic. A little, OK a lot, of re-processing and I'm posting it again, maybe it will bring me a little luck.
"All men are created equal. No matter how hard you try, you can never erase those words.”
Harvey Milk
View it On Black, believe me you won't regret it :-)
An experiment - putting her as the main object at the converging point of the perspective..hopefully it works :-P
Trig::Photographie's Most Interesting Photos on Flickriver
30mm f/1.4
Titled lifted from a song by The Milk Carton Kids called "Years Gone By".
Cle Elum Lake / Cle Elum, WA
This video features a work made by Nitro Fireguard titled "Don't let me go"
IMPORTANT : I've made this machinima as a tribute to a fellow artist who spoke to me through his work. I do not know Nitro personally and can only express my feelings of loss for the beautiful talent and unique voice I have come to love. This has an accompanying blog entry that elaborates on this. Please see opofish.blogspot.co.uk/2015/11/the-sad-fish-nitro-firegua... if so inclined.
The following is a note from Dido that is being distributed to all who visit the Nitroglobus at this time
Saturday, 7 November at 2.10 pm Paris time my beloved Partner Nitro Fireguard passed away.Although I knew this was inevitable, it still was a shock. After all nobody wants to loose a loved one. The only redeeming thought is Nitro doesn't have to suffer these horrible pains anymore.
For those who don't know: after almost a year of fighting, the cancer won and Nitro had to give up.
Dear Nitro you will always be in my heart.I thank you for the four awesome years we shared in Second Life as partners, in which we had lots of fun and joy working together to make Nitroglobus the gallery it is nowadays. We both had our own part in this: you Nitro, the artist who 'fitted' the main hall of our gallery for each exhibition with matching new mesh sculptures. I the curator, marketeer and host at our opening parties. We almost always had the same taste which was soo cool to experience time after time.
We made many friends among the artists exhibiting in our main hall as well as the guests who visited the gallery and our Sunday Cafe. Yes, our Second Life together was filled with lots of love for each other, our gallery and for the arts in general.
We communicated every day: hours of intense conversations about many many topics here in Second Life but also during the day in WhatsApp. We even met in Real Life Paris two times. I am so glad we all met: you, me and both our RL partners.
I will miss you terribly sweetie because YOU are/were my Second Life.
Je t'aime mon cheri
Gros bisous and may you rest in peace
Dido
Joa sent me a song which expresses my present feelings very well:
Frankly I could have titled the last snap "Shiver Me Timbers," thus making this edit's title "Blow Me Down."
This is a fitting snap and significant next to any collapsing barn! I shot this snap in the Rockies just at the edge above Como, CO at a used - junk store. It is pretty much a strange shot. Been plenty strange myself, too! It is at a junk yard and not far from the Tarryall stream from the canyon above Como itself. Maybe he found this out in the barren park south of Como.
Sooner or later, it always comes time to move on. I should have been there at Como and up Boreas (Google maps) all August and fall instead of here at Heatsink, Colorado! After all, Image result for BOREAS was the purple-winged god of the north wind according to Goole... and me. Could it be that we are finally being introduced to winter in December in the valley?
Some of these spots in the Rockies are best found by poking around on Google maps. We once headed up Georgia Pass, under Mount Guyot, from near Jefferson and on over while in 4WD and made it down to Tiger Run near Breck. Choose your routes vewy, vewy cawefully. I suppose that I have Chromes of that trek tucked away somewhere and why do they let Frogs in to name our mountains? Should we let tham help get us into a Viet Nam war? Next, on to other legends (legumes?) of the fall. This is all fake global warming.
(Titled after the Anthony Braxton, Milford Graves, William Parker album)
4′ x 3′
Oil on gallery canvas
ajeffries101958.wix.com/atjart#
© Alan Taylor Jeffries 2016
Titled inspired by the organization founded by Father Edward J. Flanagan - BOYS TOWN
1929 Bentley 4½-Litre Open Tourer by Vanden Plas
Car recorded at the 2019 Geneva Concours d'Elegance.
Wishing everyone a Happy Christmas and a healthy New Year.
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Handel's Messiah by The Choir of King's College, Cambridge - youtu.be/1NNy289k6Oc
California Southland
No. 18 May 1921
The portrait accompanied an article titled "A Friendly Suggestion about Art Schools" by David Edstrom. Chat GPT gave the following summary and analysis of this piece:
David Edstrom, writing as both an artist and cultural observer, offers a forceful endorsement of the Otis Art Institute in Los Angeles, particularly under the leadership of its director, Channel Pickering Townsley. He opens with a philosophical reflection on the choice between authenticity and superficiality in both personal and cultural life. Edstrom argues that the highest form of beauty is not surface-level, but the kind that builds communities and societies.
He praises the Otis Institute for being grounded in sound and progressive principles, calling it one of the finest institutions of its kind. However, he warns that bureaucratic inefficiency and amateur interference threaten its success. He criticizes delays in basic operations—such as taking a week to approve a minor carpentry job—as examples of mismanagement.
Edstrom calls for the school to become a self-governing entity with full authority granted to the director, warning that otherwise the “brain voltage of a great man” (Townsley) and the time and energy of faculty and students will be squandered. He closes with a sharp rebuke of institutional meddling by unqualified outsiders ("dilettantes") and a plea for autonomy and professional respect.
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Townsley resigned from his post as managing director of the Otis Art Institute in about June 1921. This piece may explain his reasons for resigning.
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About the author:
David Edstrom (1873–1938), also known as Peter David Edstrom or Pehr David Emanuel Edström, was a Swedish-American sculptor renowned for his expressive portrait busts and symbolic works.
Born in Vetlanda, Sweden, Edstrom immigrated to the United States with his family in 1880, settling in Ottumwa, Iowa. There, he developed an early interest in sculpture, studying under Johannes Scheiwe. In 1894, he returned to Sweden to pursue formal art education at the Royal Institute of Technology and the Royal Swedish Academy of Arts in Stockholm .
In 1900, Edstrom moved to Florence, Italy, attending the Accademia di Belle Arti di Firenze. During this period, he created notable sculptures such as Caliban (1900), Sphinx (1900), Lucifer (1902), The Cry of Poverty (1903), Despair (1904), and Pride (1904) . He also spent time in Paris, becoming part of Gertrude Stein's artistic circle and sculpting portraits of figures like Harriet Lane Levy.
Edstrom returned to the U.S. in 1915, settling in Los Angeles around 1920. He became one of the organizers of the Los Angeles County Museum of Art and was active in the local art scene. One of his significant American works includes the Soldiers and Sailors Monument in Ottumwa, Iowa, featuring four reliefs on a shaft topped with a large eagle . In 1937, he created a statue of Florence Nightingale, titled Lady of the Lamp, for the Works Progress Administration's Federal Artists Program.
Edstrom's autobiography, The Testament of Caliban (1937), offers insight into his life and artistic philosophy. Despite early acclaim, his later years were marked by relative obscurity, and he passed away in Los Angeles in 1938. Today, his contributions are recognized within Swedish-American cultural history, though he remains a lesser-known figure in the broader art historical canon .
(Chat GPT)
Titled "AKUKO UWA" (“news from every source”) this exhibition features work by the six Art Faculty at North Park University: Kelly VanderBrug, Nnenna Okore, Maya Durham, Jordan Martins and Emily Lindskoog. In this photo are works by Kelly VanderBrug (on the left), Nnenna Okore (middle) and myself. The painting I am showing is still in it's under-painting stage. The exhibition is short, running 8.30 - 9.13. The reception is on Wednesday, September 6, 4 – 7 pm
New series titled 'welcome to my kitchen' in November! I'll post one photo each day. :)
These photos were shot for Dentist Dave as a thank you for the gift coupon at Victoria's Secret. Thank you, DentistDave! I am wearing Dream Angels demi bra (pink/white stripe) and lace-trim cheekini panty (iconic stripe lace).
You can:
- see all photos in the 'welcome to my kitchen' album
- follow me on: my sexy tumblr | 500px | twitter!
- check my top10 views and top10 faves albums or see which are my personal favorites
- read my profile.
No "seen in" logos or group graphics in the comments, please. Thank you! :)
I LOVE this. Created totally within the camera. Shot in Nikons NEF format. I just want to print it wall size and hang it in the house.
Note: this photo was published in an undated (Jan 11, 2011) Everyblock NYC zipcodes blog titled "10025."
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This is a continuation of a series of subway photos that I began in the spring of 2009, and which you can find here. I created another Flickr set here in 2010, with photos from IRT subway stations at 96th Street, 42nd Street (Times Square), and Christopher Street/Sheridan Square (in Greenwich Village).
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Over the years, I've seen various photos of the NYC subway "scene," usually in a relatively grim, dark, black-and-white format. But during a spring 2009 class on street photography at the NYC International Center of Photography (ICP), I saw lots and lots of terrific subway shots taken by my fellow classmates ... so I was inspired to start taking some myself.
One of the reasons I rarely, if ever, took subway photos before 2009 is that virtually every such photo I ever saw was in black-and-white. I know that some people are fanatics about B/W photography as a medium; and I respect their choice. And I took quite a lot of B/W photographs of my own in the late 60s and early 70s, especially when I had my own little makeshift darkroom for printing my own photos.
But for most of the past 40 years, I've focused mostly on color photography. As for photos of subways, I don't feel any need to make the scene look darker and grimier than it already is, by restricting it to B/W. Indeed, one of the things I find quite intriguing is that there is a lot of color in this environment, and it's not too hard to give some warmth and liveliness to the scene...
To avoid disruption, and to avoid drawing attention to myself, I'm not using flash shots; but because of the relatively low level of lighting, I'm generally using an ISO setting of 3200 or 6400, depending on which camera I'm using. As a result, some of the shots are a little grainy - but it's a compromise that I'm willing to make.
I occasionally use a small, compact "pocket" camera like the Canon G-12, but most of my photos have been taken with my somewhat large, bulky Nikon D300 and D700 DSLRs. If I'm photographing people on the other side of the tracks in a subway station, there's no problem holding up the camera, composing the shot, and taking it in full view of everyone. But if I'm taking photos inside a subway car, I normally set the camera lens to a wide angle (18mm or 24mm) setting, point it in the general direction of the subject(s), and shoot without framing or composing.
What I find most interesting about the scenes photographed here is how isolated most people seem to be. Of course, there are sometimes couples, or families, or groups of school-children; but by far the most common scene is an individual standing alone, waiting for a train to arrive. He or she may be reading a book, or listening to music, or (occasionally) talking to someone on a cellphone; but often they just stare into space, lost in their own thoughts. Some look happy, some look sad; but the most common expression is a blank face and a vacant stare. It's almost as if people go into a state of suspended animation when they descend underground into the subway -- and they don't resume their normal expression, behavior, and mannerisms until they emerge back above-ground at the end of their ride.
Anyway, this is what it looks like down underground ... or at least, this is what it's like in the stations I've visited and photographed so far. If I feel energetic enough in 2011, maybe I'll try to photograph people in every subway station. It would be interesting to see what kind of variety can be seen...
Book titled "Garçons de Paris"
www.blurb.com/b/8843227-gar-ons-de-paris-male-nude-photog...
Titled "the one and only" as it quite literally was THE only Puffin at Crawton today.
After nightshift I headed out in search of Puffins and went to the RSPB Fowlshaugh reserve at Crawton. There was an abundance of sea birds present, I walked right to the end to look for Puffins and met a group of Photographers from France who had quite possibly the biggest cameras and lenses I have ever seen. They told me that there was 1 Puffin and he was out at the moment. So I spent some time photographing other species and then made my way back to the Puffin area, only to be told he had appeared whilst I was gone lol. After waiting a considerable time I decided to drive back to Stonehaven for lunch and then head back to Crawton once re-energized. This time I was determined to wait until he appeared. I was using my 50-200mm lens which although is the biggest lens Samsung makes for my camera, it was beginning to feel small compared to some of the hardware on show. I positioned myself against a grassy edge and was practising taking photos of birds in flight when the french photographer shouted over to me and pointed just below me.........A Puffin!! The first time I have ever seen one. it was quite lucky that he had landed quite close to me so that I could capture my first ever sight and pictures of these amazing little birds.
Titled: Bouquet Bokeh
My entry for this week's photo assignment, Bokeh. Believe it or not, I had a tough time coming up with something this week. You should have seen me last night trying to think of something.
Had tons of fun with this one. Bought some flowers just for me this time. Got them wet to create some droplets and took pictures through the drops. It's harder than it seems to get the focus right.
Shot with a 18-55mm @55mm and a 50mm reversed on the front. Man do I need to invest in a macro lens. I have some more that I'll post tomorrow, but I really like how the lines on this one came out and the clarity of the flower.
By the way, just in case anyone is questioning, this was not Photoshopped. No digital trickery was involved.
Note: this photo was published in a Dec 21, 2011 issue of Everyblock NYC zipcodes blog titled "10023." It was also published in a Jan 18, 2012 blog titled "Science Scanner: Did US Radar Bring Down Russian Probe? " - but the article is actually about the dangers of headphones, according to a recently-published study.
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This is a continuation of Flickr sets that I created in 2010 (shown here), 2009 (shown here), and 2008 (shown here) -- which, collectively, illustrate a variety of scenes and people in the small "pocket park" known as Verdi Square, located at 72nd Street and Broadway in New York City's Upper West Side, right by the 72nd St. IRT subway station.
I typically visit a local gym once or twice a week, and I get there by taking the downtown IRT express from my home (at 96th Street) down to the 72nd Street stop. Whenever possible, I try to schedule an extra 30-60 minutes to sit quietly on one of the park benches, and just watch the flow of people coming in and out of the park -- sometimes just passing through, to get from 72nd Street up to 73rd Street, but mostly entering or exiting the subway station.
You see all kinds of people here: students, bums, tourists, office workers, homeless people, retired people, babysitters, children, soldiers, sanitation workers, lovers, friends, dogs, cats, pigeons, and a few things that simply defy description. Sometimes you see the same people over and over again; sometimes they follow a regular pattern at a particular time of the day.
If I focus on the people entering the park at 73rd Street, and walking southwards toward the subway entrance, I typically have five or ten seconds to (a) decide if they're sufficiently interesting to bother photographing,(b) wait for them to get in a position where I can get a clear shot of them, and (c) focus my camera on them and take several shots, in the hope that at least one or two of them will be well-focused and really interesting.
While you might get the impression that I photograph every single person who moves through this park, it's actually just the opposite: the vast majority of people that I see here are just not all that interesting. (It's not that they're ugly, it's just that there's nothing interesting, memorable, or distinctive about them.) Even so, I might well take, say, 200 shots in the space of an hour. But some of them are repetitive or redundant, and others are blurred or out-of-focus, or technically defective in some other way. Of the ones that survive this kind of scrutiny, many turn out to be well-focused, nicely-composed, but ... well ... just "okay". I'll keep them on my computer, just in case, but I don't bother uploading them.
Typically, only about 5-10% of the photos I've taken get uploaded to Flickr -- e.g., about 10 photos from a one-hour session in which a thousand, or more, people have walked past me. There are some exceptions to this rule of thumb, as was the case with this particular set -- but nevertheless, what you're seeing it is indeed only a tiny, tiny subset of the "real" street scene in New York City. On the other hand, it is reassuring to see that there are at least a few "interesting" people in a city that often has a reputation of being mean, cold, and heartless...
Yesterday I posted pictures titled, “My legs entering in and much more if only I was dancing on an Eightfold Path decorated with ribbons off the Devil’s path.” Maybe I should have stated that the Devil’s path mentioned is a mathematical curve following equations? After legs entering in yesterday, of course there is the stepping out today.
My legs and much more if only I was dancing on an Eightfold Path decorated with ribbons off the Devil’s path all around and round and around again over a self generating Möbius landing and launching strip of many careful wonders at Balnuaran of Clava.
This was impossible for me without the help of friends. There was an opportunity to take a brief ‘stroll’ and ambling past some ancient history shutters opened and light danced upon photo sensitive materials. My soul was pleasantly surprised to have these wonders soaking in again and new engagement fulfilling my passion to communicate with people, the same formidable ones that scare me out of my sociable mind also elicit a moment of pure passion in shared expression.
Let the light be excluded so that the waiting dark is included into the design using stone the bone of the land from taken from the river the veins of the earth so that the airy mind in a sensory confine and the open heavens of the starry soul of the self can be at one and can join those others that seek such one for themselves in a tribe of humanity set to bring about living harmony, balance and community in this and in all worlds.
Our ancient ancestors often over great distance gathered and built in River Stones such stones that were well weathered and river rolled ready for usage. This Footnote in the Main Body of this text continues, “I do try to mention that many site use either only, or predominantly river stone washed and rounded ready to be joined and expertly grounded.
In the picture are,
Bright Legs – [in to the heart of the cairn]
Shadow legs – [out of the heart of the cairn]
Intentional lighting showing the path way of the Human Condition that humans like us with similar senses and sensibilities to us made this place so that they could repeatedly visit and hold dear the remains that they housed here in the Well of Sound Pit of Light and Portal of Soul that we identify as Balnuaran of Clava and Milton of Clava and also just call as Clava Cairns.
Shooting Star – [Top Left]
The burn up of cosmic grit and dust such specks that may have made us. A very nice happenstance that I would claim credit for as it looks superb, but was unscripted nature showing us that there is something further and also to be wished upon if you care to do so?
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
Best viewed on black !
Somebody wanted to see a colour version of previous photo, here we go.
I titled my photo after the Mountains of the moon, in Central Africa, an area I would like to visit one day
The ancient world had long been curious as to the source of the Nile, especially Ancient Greek geographers. A number of expeditions up the Nile failed to find the source.
Eventually a merchant named Diogenes reported that he had traveled inland from Rhapta in East Africa for twenty-five days and had found the source of Nile. He reported it flowed from a group of massive mountains into a series of large lakes. He reported the natives called this range the Mountains of the Moon because of their snowcapped whiteness.
These reports were accepted as true by Ptolemy and other Greek and Roman geographers, and maps he produced indicated the reported location of the mountains. Late Arab geographers, despite having far more knowledge of Africa, also took the report at face value, and included the mountains in the same location given by Ptolemy.
It was not until modern times that Europeans resumed their search for the source of the Nile. The Scottish explorer, James Bruce, who travelled to Gojjam in 1770, identified the Mountains of the Moon with Mount Amedamit, which he described surrounded the source of the Lesser Abay "in two semi-circles like a new moon ... and seem, by their shape, to deserve the name of mountains of the moon, such as was given by antiquity to mountains in the neighborhood of which the Nile was supposed to rise." James Grant and John Speke in 1862 found that the source was not primarily in the mountains but rather in the Great Lakes. Henry Morton Stanley finally found glacier-capped mountains possibly fitting Diogenes's description in 1889 (they had eluded European explorers for so long due to often being shrouded in mist). Today known as the Rwenzori Mountains, the peaks are the source of some of the Nile's waters, but only a small fraction, and Diogenes would have crossed the Victoria Nile to reach them.
Many modern scholars doubt that these were the Mountains of the Moon described by Diogenes, some holding that his reports were wholly fabricated. G.W.B. Huntingford suggested in 1940 that the Mountain of the Moon should be identified with Mount Kilimanjaro, and "was subsequently ridiculed in J. Oliver Thompson's History of Ancient Geography published in 1948". Huntingford later noted that he was not alone in this theory, citing Sir Harry Johnston in 1911 and Dr. Gervase Mathew later in 1963 having made the same identification. O. G. S. Crawford identified this range with the Mount Abuna Yosef area in the Amhara Region of Ethiopia.
Cf Wikipedia
More of my Namibian shots : www.flickr.com/photos/23502939@N02/5303882798/in/set-7215...
Titled ‘Healthy River Healthy Community’ the Waikerie Silos are the second in the Australian Silo Art Trail Collection to be painted on both sides, giving a land view and a river view as well.
Two exceptional world class artists were chosen for the project, Jimmy DVate from Melbourne and Garry Duncan from Kanmantoo.
Featuring on Jimmy’s silo is local native flora and fauna, including a giant Yabby and the endangered Regent Parrot. Jimmy has also included other endangered species such as the Murray Hardyhead and the Spiny Daisy.
On Garry’s silo he has painted a giant, semi-abstract river landscape and has included many quirky, local, native river creatures, like assorted birds, frogs, fish and turtles. Garry has also featured the Rainmoth, which is where the town of Waikerie gets its name.