View allAll Photos Tagged Threshold
Didn't plan on this but Draw the Line were there with a lovely set of blank walls!
Pretty chuffed how it turned out considering I didn't have my sketchbook or pens with me! :)
[order] Falconiformes | [family] Falconidae | [latin] Falco tinnunculus | [UK] Kestrel | [FR] Faucon crécerelle | [DE] Turmfalke | [ES] Cernícalo Vulgar | [IT] Gheppio comune | [NL] Torenvalk | [IRL] Pocaire gaoithe
spanwidth min.: 68 cm
spanwidth max.: 78 cm
size min.: 31 cm
size max.: 37 cm
Breeding
incubation min.: 27 days
incubation max.: 29 days
fledging min.: 27 days
fledging max.: 32 days
broods 1
eggs min.: 2
eggs max.: 7
Status: Widespread resident throughout Ireland.
Conservation Concern: Amber-listed due to concerns over the European population, which has undergoing a moderate continuing decline.
Identification: A species of falcon. A small bird of prey with long, relatively narrow wings and tail. Has a short, hooked bill for eating meat. Usually, hovers, with a fanned tail, when hunting for its prey, when it manages to keep its head stationary despite its rapid wing beats. Male and female birds have different plumages but both sexes are recognised by their brown back and inner upperwings which contrast with their dark upper outer wings. Confusion with Sparrow hawk is possible but Kestrel has narrower, straighter wings and flies using less gliding in its flight. Males have one, terminal band on the upper tail and show a blue-grey upper tail and rump; females have a series of bands on a brown upper tail. Males have a blue-grey finely streaked head and females a brown streaked head. Both sexes have finely barred underwings with dense spotting on the body. Immature birds are similar to adults, but first summer males and juveniles can be separated from adults, please refer to a field guide.
Similar Species: Sparrowhawk, Peregrine, Merlin
Call: Repeated quickly, a series of short sharp notes.
Diet: Mainly small mammals, but will also take insects and invertebrates and sometimes birds. Can see small mammal 'runs', which it scans for signs of movement.
Breeding: A widespread breeder throughout the country. Nests in trees, buildings or in cracks in cliffs. Will use old crows nests. Found in wide variety of open habitats including coasts, moor land, farmland, wetlands, roadside verges and town parks.
Wintering: Largely resident within breeding territory. Some birds move within the country, especially down from the uplands.
Where to See: Easy to see at all times of the year throughout the country. Look out for them as you drive along new roads with wide, uncut verges. They will be hunting for rodents in the long grass.
Physical characteristics
The Kestrel is a small, chestnut brown bird of prey that is frequently seen hovering over grassland. The hooked bill is a bluish colour with yellow cere. The legs are yellow. The male (or tercel) Kestrel has black-spotted chestnut brown upperparts, and a blue-grey head and tail. The tail has a single black bar at the tip. Underneath, the breast and belly are buff coloured with black spots. The female (or falcon) is darker than the male and the back, mantle and wings all have black barring. The tail has black barring along its length. The creamy underparts are more heavily streaked in black than the male. Occasionally, the head and tail may be tinged with grey. Juveniles are like females.
Habitat
European populations are among the most urbanized raptor species and occur in a wide variety of habitats, including parks, orchards, small woodlands, gorges, and ravines. In Morocco, it occurs at inland and coastal cliffs and in towns, open forests, eucalyptus plantations, palm groves, cultivated areas, and semi-arid desert steppes. The southern African race (rupicolus) inhabits a wide variety of habitats from arid to mesic, but shows a particular preference for mountainous and hilly areas. Often perches on high cliffs, telephone poles, electric lines, electricity pylons for hunting. Occurs singly or in pairs, and not particularly wary of man.
Other details
Falco tinnunculus is a widespread breeder across most of Europe, which accounts for less than a quarter of its global breeding range. Its European breeding population is large (>330,000 pairs), but underwent a moderate decline between 1970-1990. Although trends were stable or increased in many countries during 1990-2000, key populations in the United Kingdom, France and Russia declined, and the species underwent a moderate decline (>10%) overall. Consequently, it is evaluated as Declining.
Feeding
Kestrels feed on small mammals, such as voles, shrews and mice, birds as large as Starlings, and invertebrates, such as beetles, grasshoppers and worms. In gardens, they will take meat scraps. In addition to having exceptionally good eyesight, Kestrels can also see ultra-violet light. This is useful in locating voles because they leave a trail of urine wherever they go and the urine glows in ultra-violet light.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population estimated to be 5,000,000 individuals (Ferguson-Lees et al. 2001). Global population trends have not been quantified, but populations appear to be stable (Ferguson-Lees et al. 2001) so the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
Generally a solitary nester, but loose colonies of 5-50 nesting pairs occur in Morocco and Tunisia in very favorable habitat. Kestrels use old nests of other birds or nest in holes in trees, cliff ledges or even man-made structures, such as motorway bridges. 3-5 eggs are laid around late April to May, with about two days between each egg. Incubation, done only by the female, takes 26-30 days. Once hatched, the chicks grow at a very fast rate. Food is fetched by the male and brought directly to the nest; or left close by, the male then calls to the female to get her to collect the food. The young are fully fledged in 4-5 weeks after hatching, but stay with the parents to be fed for up to 4 more weeks, before they have all their hunting skills, including the ability to hover.
Migration
Mainly migratory in north and east; partially migratory or dispersive (especially juveniles) elsewhere in Europe. Endemic insular races alexandri and neglectus (Cape Verde Islands), and canariensis and dacotiae (Canary Islands) all believed sedentary. Migrants include major trans-Saharan element. Winter range extends from Britain and Ireland, southern Fenno-Scandia, Poland, Ukraine, and Caucasus, south to Gulf of Guinea, Angola, Zambia, Malawi, and less desiccated parts of Near East and Arabia. On continent, autumn migration mainly south to south-west. Juveniles begin to wander from mid-July, but main movements begin August on northern edge of range, and continue through September and October in Europe. Noted crossing Straits of Gibraltar mid-August to early November, with peak passage there last week of September and well into October. Return movement, often in loose flocks associated with Lesser Kestrel, begins southern areas in February, and most have left tropics by late April. Exact timing of movements south of Sahara probably dependent on rains and their effect on insect food. Peak passage at Cap Bon (Tunisia) late March to late April. Northernmost breeding areas in Siberia reoccupied from end of April.
Members of acclaimed prog metal band Threshold soak up the rapturous applause from the audience after their headlining performance at the 2023 Summer's End festival in Chepstow.
From left to right: bassist Steve Anderson, vocalist Glynn Morgan, drummer Johanne James, guitarist Karl Groom and keyboard player Richard West.
Visible on the extreme left (holding microphone) is Stephen Lambe, festival organiser.
Sunday 8th October 2023.
Missyis2.2% I have used the gate to frame her and her placement in the corner
I was surprised Missy behaved here,as she knows the stream is just to the right. She was clearly just on the upper threshold of her obedience training.
新竹縣尖石鄉Jianshi Township, Hsinchu County
Camera Model : Canon EOS R5
Shooting Mode : Aperture-Priority AE
Tv( Shutter Speed ) : 1/25
Av( Aperture Value ) : 8.0
Metering Mode : Evaluative Metering
ISO Speed : 400
Lens : EF300mm f/2.8L IS II USM +2x III
Focal Length : 600.0mm
White Balance Mode : Auto
AF Mode : Servo AF
Servo AF : Case 2
Picture Style : Standard
Sharpness : Strength 4
Sharpness : Fineness 2
Sharpness : Threshold 3
影像品質 : RAW(Photoshop Lightroom Classic)轉JPEG檔
影像後製軟體 : Photoshop Lightroom Classic
版權所有不得轉載 © All rights reserved
Please don't use this image on websites, blogs or other media
without my explicit permission.
Art by Ilkka Suppanen
"Ilkka Suppanen’s (b. 1968) exhibition, LIMINAL, refers to an in-between state in which matter is on the threshold of morphing into a new form. Metaphorically, it also alludes to the similarity between glass and water, both being materials that can be either liquid or solid, and both having a function related to preservation. Suppanen’s sculptures capture condensed shapes that resemble ancient fossils. Their temporal dimension fast-forwards us to the future: global warming is causing the sea level to rise, placing vast territories at risk of being claimed by the ocean while jeopardizing the planet’s fresh water reserves. Typically for Suppanen, the exhibition’s guiding theme focuses on sustainable development and globalization, the infinite recyclability of glass being symbolically linked with the eternal cycle of water.
The unique glass sculptures featured in this exhibition were crafted in the legendary glass studios of Claudio Tiozzo and Pino Signoretto in Murano, Venice. Choosing a technique honoring artisan traditions and experimentalism, Suppanen discovers a wholly new expressive idiom within the border zone between glass art and design. His sculptures exude a sense of dynamic movement, while engaging in a dialogue with space, mass and volume, the large and heavy appearing fragile, while the small and compact conveys a sense of massive weight and volume. The palette of his sculptures ranges from colorless translucent to shades of blue, green and white, endowing the exhibition with an ethereal visual aesthetic.
A qualified architect and interior architect, Suppanen ranks among Finland’s leading contemporary designers. His art embraces a humanist philosophy, often addressing environmental themes. In addition to practicing in the field of industrial design, Suppanen produces one-off art that has been exhibited at venues including the Venice Biennale and the New York Museum of Modern art. He is the winner of numerous awards and accolades, including the pan-Nordic Torsten and Wanja Söderberg Prize in 2015. "
This photograph, created by Duncan Rawlinson, is a visual exploration of the space at the edge of discovery, where AI's potential is rendered in a spectral display of light and color. The setting is an industrial expanse, where the rawness of the environment is juxtaposed with the fluidity of digital enhancements. Human figures, cast in shadow, navigate this transformative realm, their presence a grounding force in the midst of AI's expansive potential. The palette is alive with dynamic hues, a spectrum of color that seems to be in constant flux, echoing the ever-changing nature of technology. Reflective surfaces capture and multiply the scene, creating layers of depth that draw the eye deeper into the photograph. Rawlinson's work is a visual threshold, inviting the observer to step into a world where the lines between the real and the artificially rendered are beautifully blurred.
project: Wainwright Tomb.
architect: Louis Sullivan.
location: Bellefountaine Cemetery, Saint Louis, Missouri.
Some other examples of Louis Sullivan's work in my photostream.
Many little ponds like this in the area are about to transform into the colors and expression of Spring. Buffalo Peaks, the southernmost peaks of the Mosquito Range, rise up in the background.
I was sitting in my lounge wondering what I could pull together at short notice starting with P and fit another thought category.
Then I noticed a threshold of shiny "porcelain like" skin reflecting the late afternoon glow from the sala.
Funny that.
I did have to reduce the shiny bits some more though. as I find it quite frustrating that shiny non-flat surfaces reflect the world aroud you.
The Letter P Theme
Shine Challenge
My thoughts on yesterdays post: Thanks everyone for your comments. I wanted to create something with my hand that was a bit different, and my vein pattern helped as well.
I was pleased that it was well received.
Paper Birch/White Birch - Betula papyrifera
For Our Daily Challenge - Threshold.
For Our Daily Topic - Threshold
The bark of the paper birch peals or exfoliates when a certain threshold is reached.
Don't use this image on websites, blogs or other media without explicit permission.
© All rights reserved
Según el arqueólogo Yasutake Kato:
El descubrimiento del tercer monolito, Monolito 89-2, tiene mayor importancia. Es una piedra de 155 cm de longitud, 45 cm de altura y 30 cm de ancho, que tiene un dibujo grabado de 85 x 30 cm, en el lado frontal. Lo hemos encontrado en la escalera sureste de CP-Plz Cuadrangular in situ. Servía como el último peldaño superior de esta escalera.
El dibujo representa dos caras de perfil de jaguar enfrentadas, también se ve como una sola cara frontal. Los cabellos están formados por serpientes. Tienen orejeras típicas. Las bocas están un poco abiertas con colmillos grandes. Los ojos están
rodeados por la cola de serpiente.
Los importante es que hay dos monolitos comparables, que fueron encontrados en el año 1946, Monolito 46-3 y Monolito 46-4. Dicen que estos dos monolitos estaban en el área donde hemos descubierto la Plaza Cuadrangular. Los dos monolitos han sido descritos frecuentemente en las literaturas arqueológicas como dinteles.
------------------------------------------------------------------------------------------
According to the archaeologist Yasutake Kato:
The discovery of the third monolith, Monolith 1989-2, is more important. It is a stone that is 5 feet long, 1.5 feet high and 1 foot deep bearing a carved image 2.7 feet wide by 1 foot high on the front. We found it on the southeast stairway of the Quadrangular Plaza. It served as the top riser of the stairway.
The image represents two jaguar faced in profile facing one another; the two of them also form a single portrait face. The hair is made up of serpents. They have typical ear spools. The mouths are slightly open with large fangs. The eyes are surrounded by a snake's tail.
What's important is that there are two comparable monoliths that were found in the year 1946, Monolith 46-3 and Monolith 46-4. They say these two monoliths were in the area where we uncovered the Quadrangular Plaza. The two monoliths have been described in the archaeological literature as thresholds.
"Results of the Excavations at Kuntur Wasi, Cajamarca," Senri Ethnological Studies 37 (1993).
========================================================
According to Wikipedia:
Kuntur Wasi (Quechua kuntur condor, wasi house, "condor house") is the name given to the ruins of a religious center with complex architecture and stone sculptures, located in the Andean highlands of Peru.
It is believed the inhabitants had a link with the Chavín culture.
Kuntur Wasi is located in the Northern Mountain Range of Peru, specifically at the headwaters of the Jequetepeque River, in the region of the city of Cajamarca near the small town of San Pablo. The Jequetepeque valley provided a transportation corridor between the coastal region and the highlands.
Kuntur Wasi was a center where people congregated.
It is thought to have been constructed around 1000-700 BCE, during the Initial Period. The architecture consists of a hill-top temple, quadrangular platforms, a sunken courtyard, and series of rooms.
In the floor of one room there is an anthropomorphic figure made of clay, about 30 inches (75 cm) in height. It is painted with cinnabar red, malachite green, and black, yellow, and pink. Its face has big square eyes and a wide mouth with prominent canine teeth. There are also stepped platforms and funeral structures.
Lithosculptures have been found, similar to the Chavín style.
Kuntur Wasi was occupied between the years 1200-50 BC.
It was first discovered in 1945 by Julio C. Tello. In 1989, scientists from the University of Tokyo excavated four tombs at Kuntur Wasi. Valuable items, such as pectoral necklaces (decorative breastplates), gold crowns, ornamental stone beads, earrings, sets of dishes and iconographies of people were discovered in the burial area.
Since the beginning of the University of Tokyo's archaeological mission, eight tombs have been found in the area.
The Kuntur Wasi Museum, managed by local citizens, opened in 1994.
---------------
Según Wikipedia:
Kuntur Wasi es un sitio arqueológico que data del Formativo Inferior, se encuentra ubicado en el centro poblado del mismo nombre, en la provincia de San Pablo, en el departamento de Cajamarca, en el Perú.
En la lengua quechua Kuntur Wasi significa "Casa del Cóndor". Según el arqueológo japonés, Yoshio Onuki, estudioso principal de este sitio arqueológico, Kuntur Wasi es una expresión prechavín pero que posteriormente posee una gran influencia no solo de Chavín sino también de Cupisnique especialmente en la orfebrería y la cerámica.
Kuntur Wasi pasó por los siguientes periodos:
Fase Ídolo: Construcción del centro ceremonial con pisos enlucidos con cal de color blanco. En esta fase hay una cierta relación con Huacaloma y Pacopampa.
Fase Kuntur: Construcción de un nuevo complejo ceremonial en forma de U. Se desarrolla la cerámica fina y la orfebrería.
Fase Copa: Modificación del complejo arquitectónico ceremonial y la renovación del sistema de canales de drenaje.
Fase Sotera: Existe una relación con la Fase Layzón del valle de Cajamarca. Corresponde a la decadencia de Kuntur Wasi.