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And do this, understanding the present time: The hour has already come for you to wake up from your slumber, because our salvation is nearer now than when we first believed. The night is nearly over; the day is almost here. So let us put aside the deeds of darkness and put on the armor of light.
[Romans 13:11-12 NIV]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
My pictures at GettyImages and SeenBy
Nikon D300 with Tokina 12-24mm/f4: 12mm - ISO200 - 1/160 - f5.6
The genesis of modern understanding of Greek mythology is regarded by some scholars as a double reaction at the end of the 18th century against "the traditional attitude of Christian animosity mixed with disdain, which had prevailed for centuries", in which the Christian reinterpretation of myth as a "lie" or fable had been retained.[1] In Germany, by about 1795, there was a growing interest in Homer and Greek mythology. In Göttingen Johann Matthias Gesner began to revive Greek studies and a new humanistic spirit. His successor, Christian Gottlob Heyne, worked with Johann Joachim Winckelmann, and laid the foundations for mythological research both in Germany and elsewhere. Heyne approached the myth as a philologist and shaped the educated Germans' conception of antiquity for nearly half a century, during which ancient Greece exerted an intense influence on intellectual life in Germany.The development of comparative philology in the 19th century, together with ethnological discoveries in the 20th century, established the science of myth. Since the Romantics, all study of myth has been comparative. Wilhelm Mannhardt, Sir James Frazer, and Stith Thompson employed the comparative approach to collect and classify the themes of folklore and mythology.In 1871 Edward Burnett Tylor published his Primitive Culture, in which he applied the comparative method and tried to explain the origin and evolution of religion.] Tylor's procedure of drawing together material culture, ritual and myth of widely separated cultures influenced both Carl Jung and Joseph Campbell. According to Robert Segal, however, Campbell’s "romantic view of myth is the opposite of a rationalist view, one epitomized by the Victorian anthropologists Edward Tylor and James Frazer".J.F. del Giorgio has added a new turn to the comparative approach, insisting in The Oldest Europeans about present Greek myths being generated by the clash between a Paleolithic European population and the incoming Indo-European tribes.Max Müller applied the new science of comparative mythology to the study of myth, in which he detected the distorted remains of Aryan nature worship. Bronisław Malinowski emphasized the ways myth fulfills common social functions. Claude Lévi-Strauss and other structuralists have compared the formal relations and patterns in myths throughout the world.Evans himself, while studying the Minoan world, drew regularly on Egyptian and Near Eastern evidence for comparison, and the discovery of the Hittite and Ugaritic civilizations has uncovered texts as well as monuments which offer comparative material for ritual and mythology.Sigmund Freud put forward the idea that symbolic communication does not depend on cultural history alone but also on the workings of the psyche. Thus Freud introduced a transhistorical and biological conception of man and a view of myth as an expression of repressed ideas. Dream interpretation is the basis of Freudian myth interpretation and Freud's concept of dreamwork recognizes the importance of contextual relationships for the interpretation of any individual element in a dream. This suggestion would find an important point of rapprochment between the structuralist and psychoanalytic approaches to myth in Freud's thought.Carl Jung extended the transhistorical, psychological approach with his theory of the "collective unconscious" and the archetypes (inherited "archaic" patterns), often encoded in myth, that arise out of it.According to Jung, "myth-forming structural elements must be present in the unconscious psyche".[10] Comparing Jung's methodology with Campbell's theory, Segal concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the Odyssey, for example, would show how Odysseus’s life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth".[5] For Jung, myth is no more about gods than about the physical world; it is about the human mind and must be read symbolically. Karl Kerenyi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth.The origins of Greek mythology are an open question. In antiquity, historians such as Herodotus theorized that the Greek gods had been stolen directly from the Egyptians. Later on, Christian writers tried to explain Hellenic paganism through degeneration of Biblical religion. According to the Scriptural theory, all mythological legends (including Greek mythology) are derived from the narratives of the Scriptures, though the real facts have been disguised and altered. Thus Deucalion is another name for Noah, Hercules for Samson, Arion for Jonah etc.] According to the Historical Theory all the persons mentioned in mythology were once real human beings, and the legends relating to them are merely the additions of later times. Thus the story of Aeolus is supposed to have risen from the fact that Aeolus was the ruler of some islands in the Tyrrhenian Sea.The Allegorical theory supposes that all the ancient myths were allegorical and symbolical. According to the Physical theory the elements of air, fire, and water were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature.The sciences of archaeology and linguistics have been applied to the origins of Greek mythology with some interesting results. Historical linguistics indicates that particular aspects of the Greek pantheon were inherited from Indo-European society (or perhaps both cultures borrowed from another earlier source), as were the roots of the Greek language. Prominent Sanskritist Max Müller attempted to understand an Indo-European religious form by tracing it back to its Aryan, Vedic, "original" manifestation. In 1891, he claimed that "the most important discovery which has been made during the nineteenth century with respect to the ancient history of mankind [...] was this sample equation: Sanskrit Dyaus-pitar = Greek Zeus = Latin Jupiter = Old Norse Tyr".[16] Philologist Georges Dumezil draws a comparison between the Greek Uranus and the Sanskrit Varuna, although there is no hint that he believes them to be originally connected.In other cases, close parallels in character and function suggest a common heritage, yet lack of linguistic evidence makes it difficult to prove, as in the case of the Greek Moirai and the Norns of Norse mythology.Archaeology and mythography, on the other hand, has revealed that the Greeks were inspired by some of the civilizations of Asia Minor and the Near East. Adonis seems to be the Greek counterpart — more clearly in cult than in myth — of a Near Eastern dying god. His name is related to the Semitic invocation "adon" (Lord) and appears in other cultures as Dumuzi, Tammuz or Attis. Cybele is rooted in Anatolian culture, and much of Aphrodite's iconography springs from the Semitic goddesses Inanna, Ishtar and Astarte. The theogonic myths current in the Near East in the second millennium BC, such as the myth of Anu, Kumarbi, and Teshub, contain significant stories of generational conflict. Meyer Reinhold argues that "such Near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way — the route is not certain — into Greek mythology. Our prime source is the great theogonic poem of Hesiod".Parallels between the earliest divine generations (Chaos and its children) and Tiamat in the Enuma Elish are also possible.In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the still poorly understood pre-Hellenic societies of Greece, such as the Minoans and so-called Pelasgians. This is especially true in the case of chthonic deities and mother goddesses. Historians of religion were fascinated by a number of apparently ancient configurations of myth connencted with Crete: the god as bull — Zeus and Europa; Pasiphaë who yields to the bull and gives birth to the Minotaur; agrarian mysteries with a sacred marriage (Demeter's union with Iasion) etc. Crete, Mycenae, Pylos, Thebes and Orchomenus figure so large in later Greek mythology.For some, the three main generations of gods in Hesiod's Theogony (Uranus, Gaia, etc.; the Titans and then the Olympians) suggest a distant echo of a struggle between social groups, mirroring the three major high cultures of Greek civilization: Minoan, Mycenaean and Hellenic. Martin P. Nilsson, Professor of Classical Archaeology, worked on the structure, origins and relationships of the Indo-European languages, and concluded that all great classical Greek myths were tied to Mycenaen centres and were anchored in prehistoric times.Nevertheless, according to Walter Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation of all these theories; nothing points to a bull, sexual symbols are absent and a single seal impression from Knossos showing a boy beneath a sheep is regarded as a scant evidence for the myth of Zeus' childhood.
en.wikipedia.org/wiki/Modern_understanding_of_Greek_mytho...
Today the Hereios of the We’re Here! Group are visiting Car Parks. Car parks can be a bit dull, and this was a quiet day at our local country store, so I used PS Elements to add interest.
Thank you, in advance, to those of you who take a moment to leave a comment and/or fave my photo. I appreciate it tremendously.
Curled up in an outstretched hand, this charming crystal baby, called A Great Wish, is the work of Taiwanese artist Loretta Yang. Her artistic approach is influenced by her power of observation, her understanding of human nature and her knowledge of traditional Chinese artistic vocabulary. By some accounts, she is one of the most influential Chinese glass artists of our times.
But glasswork is not her first claim to fame. In the 1970s she was as an award-winning film actress, and a household name throughout Taiwan.
In 1987, Yang left the film world to immerse herself in the techniques of modern Chinese glass art. She became a master of a technique known as pate-de-verre, which mixes finely ground glass with a binder. The resulting paste is then melted and the liquid poured into a mold. The final product emerges after a process of drying and firing.
Yang's work is represented in more than 60 locations worldwide and in 2008 her glass sculptures were included in the VIP gift baskets at both the Grammy Awards and the Academy Awards.
- - - Information is courtesy of Bowers Museum
Bowers Museum:
Founded in 1936 by the City of Santa Ana through a bequest from Charles and Ada Bowers, the Bowers Museum is one of California's finest and Orange County's largest museums. In 1986, the museum closed its doors for a period of self-study. In response to community needs and input, it reopened in 1992 as a new cultural center, and expanded children's programming in 1994 with the opening of the Kidseum. The museum also recently celebrated the grand opening of the 30,000+ square-foot Dorothy and Donald Kennedy Wing in February 2007.
The Bowers has been voted "The Best Museum in Orange County" by the readers of The Orange County Register for 15 consecutive years.
The Bowers is accredited by the American Association of Museums, an honor only 5% of museums receive.
In the past 15 years the museum has increased its facility size from 7,000 square feet to its current size of 93,000+ square feet.
There is a tiny true story here, not so much an exciting tale, but one of explanation. I had been taking several "Raintings" of the neon lit-up restaurant, sometimes from right in their south parking lot, and sometimes from across the street at a grocery store parking lot. They were pretty cool, so I went back two or three evenings with the idea of showing one of the employees (maybe even a manager) some of the cool pictures I had taken (not to sell or anything like that). I was hoping for some exclamations of Wow! Also I wanted them to feel more comfortable with me being outside taking pictures, and never trying at all to get customers in them, nor to be a bother in any way. I met one nice lady, and she used to do some photography; so there was some rapport and understanding there. I went outside and fumbled around trying to find some pictures in my camera I had already done, and show some to her. Maybe I was nervous. Maybe I just have too many hundreds of pictures in my camera, but I could not find any of them. I had told her I would be back, but that did not happen that night.
I went back the next two or three nights, and either they were closed earlier than I thought, or they were still open but about 2/3rds of their lights were off. Of course I didn't want the lights off. I went in one time, and asked if they were aware their lights were broken. The lady said, sometimes they just turned some of them out early, and she offered to turn them back on for me. I thought that was nice, but I felt a little nervous about her doing it for me. I went outside, and fumbled around still hoping to find some previous pictures I could show her. No luck there. I drove across the street, and there was not one parking place that would work. You might be wondering why did I have to be in my truck? Well, the whole idea of a rainting is to shoot the picture through a wet windshield , or something like it. Thus, I wanted to be inside my parked truck and facing the restaurant. Of course it would not have been OK to block the entrances and exits for the people shopping at the Albertson's grocery store. I was disappointed and thought the lady might have thought I left the scene completely after she so nicely turned the lights back on for me. I'm not normally rude, but she wouldn't have known that. Finally, someone backed out of a spot that would work for me, and before I even pulled into it completely, my phone rang. There was no caller ID, and I thought it likely a Robo or spam type of call. I answered, but couldn't lip-read this man on the phone, so just guessed at what he was saying. I heard Um, Blah, hmm, and I'm calling from the tire department. I had recently bought 2 new tires, so I was wondering what about them? He said "fire department." So it wasn't a spammer, and I was interested in what he had to say. At this point, I'm situated to take great "rainting" pictures of the restaurant, but I can't take an important phone call and try to compose pictures at the same time. I devote my entire thought and energy to this call. He was a Battalion Chief and even though I had talked to the Operations Chief months ago, he wanted to talk personally and see what I had to say about last April of 2019 when my doctor told me to call 911 and take an ambulance to the Emergency Room, and the Medic refused me, after I was seated in the ambulance. He insinuated that I just wanted a free ride to the hospital. There were 3 male employees on board and they all chimed in about the cost, and the scarcity of ambulances because they only have 14 of them in Springfield, and hypothetical questions to me about what would they do if there were a big fire or car accident somewhere? It was more of criticism and political guilt than concern about what conditions I had that led my doctor to tell me to go to the emergency room. I was dumbfounded and in no condition to argue with 3 men. The Battalion Chief and I talked and talked a long time, a half an hour in fact.
By the way, Eugene and Springfield have formed one joint Fire & Medic Department; so Eugene would have taken up the slack if there had been much more important catastrophes going on than mine. If I weren't "sick" enough when I got on the ambulance, I was sick at heart when I got off. I wasn't in much condition to argue with three theoretical professionals.
As an aside, I want to say here I have had a number of trips to the ER, and every one but this one were terrific people, medics, nurses, drivers, whatever. I applaud all of them but this one.
I'm wrapped up in this phone call, and The Taco Time restaurant across the street has gone completely dark, and closed up for the night. Oh no, the lady at Taco Time is not going to know this was an important phone call, or that even that I'm sitting right across the street with my camera. She'll probably think I just drove off in spite of her nice offer.
I have gone back twice to Taco Time since that night, and the lady wasn't working either of those nights. I'll try again. Meanwhile, I have gotten some really interesting shots through the rain. I even got some shots of the north side, like the one above, for a change.
THE END
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ABOUT RAINTINGS
Rainting is a word I coined describing a painterly effect, achieved by photographing the subject through glass that is being rained on, like a windshield or other. It achieves an oftentimes pretty or soft flowing effect, and sometimes other-worldly. It is usually creative, fun, and fluid, seldom harsh in my opinion. I have an album of them on Flickr. Rainting is already in "The Urban Dictionary" but I would like it to also be in a more sophisticated/educational type of dictionary. I started a public Flickr group of Raintings on New Year's Day 2020.
The more collegiate type of dictionaries say that the word has to actually be used by people before they're likely to publish it. So if you like the word and my idea, say it loud and say it clear and take a few Raintings and post them to my new group. There are no comments required, although most people like to receive them. Using my word and trying my new group are not inclusive of one another.
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"My thin white border is not so much a frame as a defense against Flickr's all dark background"
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DSCN1643RaintingTacoTimeNorthBIGsoocBordInitFlickr020220
Instead, planning ahead let Friendship Fred
know where you stand in your business wonderland
Find associates of all kinds
Understanding Ulysses’ are nice
Caring Carl's never take it too far
Kevin Kindness melts cold ice fast.
But, I may think twice if I put Friendship and the front of the line
In the end, you will not look like an ass.
inspiration goes to: Saturaday Night Live skit and Master Pshopper Jon-e's Wiggles
A few years ago, New York. Didn't expect to like the city that much but kept my eyes wide open and left in love with it. Here are a few impressions I haven't posted before.
Leica-CL Summicron-C 1:2.0/40mm.Kodak Tri-X 400asa. Kodak HC 110 1+31 (B)
7 1/2 min 20º. Maastricht winkel centrum Mosae Forum.
The truth is in the eye of the beholder
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder,Serial Number 1395533
Leica-M 6 TTL 0.72 1998 Rangefinder Serial Number 2466527
Leica-M6 TTL 0.85 2001 Rangefinder Serial Number 2755204.
When young we feel almost indestructible believing we can conquer the world. With Age come knowledge, humility and understanding that we cannot wrap the world around our arms. We are just a small part of something incredible, not the center of it.
Macro Monday project – 06/20/11
"Humility"
Please don't use this image without my explicit permission. © All rights reserved
Por favor, no uses esta imagen sin mi permiso explícito. Todos los derechos reservados.
Todas las imágenes se encuentran disponibles para su venta. Envíame un mail a juampiter@gmail.com si estás interesado en alguna.
All my images are available for sale. Send me an email to juampiter@gmail.com if you are interested
Listen 🙏
Off/ On 📷
Wave
Taking pictures a tool (camera), not a photographer.
The choice of tool limits the possibilities.
Experience allows him (instrument) less and less to limit their capabilities.
The ability to see is given only when the observer allows ...
The moment of observation is the real find ...
Training and mastering it defies. Training leads to poor imitations of the original.
Often the result should ripen, like wine. Although time is the understanding of the mind, therefore it is very speculative.
The meaning of all this is the process!
Find someone who inspires shooting the camera!
www.instagram.com/listenwave_photography/
Often we are visited by thoughts that may reveal something unknown ... Our mind many times tries to solve a problem with known methods ... This is its main mistake! The path of the heart opens the doors that appear in our path. It is a pity that not everyone has the courage to insert the keys that are always with us ...
(Listenwave- 圣彼得堡). #Lakhta. #Listenvawe #Light. This small village on the northern shore of the Gulf of Finland, about 15 km north-west of the city, is the birthplace of human settlements on the banks of the Neva. It was in the territory of Lakhta that the remains of a man’s camp of three thousand years ago were found.
In official documents, the settlement named Lakhta has been dating since 1500. The name is derived from the Finnish-language word lahti - "bay". It is one of the few settlements that has not changed its name throughout its 500-year history. It is also known as Lahes, Lahes-by, Lahes and was originally inhabited by Izhora. In the last decades of the 15th century, Lakhta was a village (which indicates a significant number of its population) and was the center of the same name of the Grand-Ducal volost, which was part of the Spassko-Gorodensky pogost of Orekhovsky district of Vodskaya Pyatina. In the village there were 10 yards with 20 people (married men). In Lakhta, on average, there were 2 families each, and the total population of the village probably reached 75 people.
From the marks on the fields of the Swedish scribal book of the Spassky Pogost of 1640, it follows that the lands along the lower reaches of the Neva River and part of the coast of the Gulf of Finland, including Lakhta Karelia, Perekulyu (from the Finnish "back village", probably because of its position relative to Lakhta) and Konduya Lakhtinsky, was granted royal charter on January 15, 1638, to the possession of the Stockholm dignitary, General Rickshulz Bernhard Sten von Stenhausen, of Dutch origin. On October 31, 1648, the Swedish government granted these lands to the city of Nuena (Nyenskansu). With the arrival of the Swedes in the Neva region, Lakhta was settled by the Finns, who until the middle of the 20th century constituted the absolute majority of the villagers.
On December 22, 1766, Catherine 2 granted the Lakhta manor, which at that time belonged to the Office of the Chancellery from the buildings of palaces and gardens, "in which and in her villages with yard people 208 souls" to her favorite, Count Orlov. Not later than 1768 Count J.A. Bruce took possession of the estate. In 1788, the Lakhta manor with its wooden services on dry land (high place) and the villages of Lakhta, Dubki, Lisiy Nos and Konnaya, also on dry land, were listed there, in those villages of male peasants 238 souls. On May 1, 1813, Lakhta was taken over by the landlords of the Yakovlevs. On October 5, 1844, Count A. I. Stenbok-Fermor took possession of the Lakhta estate, in which there were then 255 male souls. This genus was the owner of the estate until 1912, when his last representative got into debt and the nobility was established over the estate. On October 4, 1913, the count, in order to pay off his debts, was forced to go into incorporation, and the Lakhta estate became the property of the Lakht Joint-Stock Company of Stenbock-Fermor and Co.
After the revolution, Lakhta was left to itself for some time; on May 19, 1919, in the former estate of the Stenbock-Fermor estate, the Lakhta sightseeing station was opened, which lasted until 1932. In the early 1920s, sand mining began on the Lakhta beaches, and the abandoned and dilapidated peat-bedding plant of the Lakhta estate in 1922 took the Oblzmotdel department under its jurisdiction and launched it after major repairs. In 1963, the village of Lakhta was included in the Zhdanovsky (Primorsky) district of Leningrad (St. Petersburg).
“Years go by will I still be waiting for somebody else to understand... sometimes I hear my voice and it's been here, silent all these years...”
- Tori Amos
I'm contemplating these days more than taking pictures; I need to find myself in my photographs again. The photographer part of me is lost amidst myself and the world.
"Work No. 2630 UNDERSTANDING" by Martin Creed. In the summer 2020 the sign should have been part of the 50 years Roskilde Festival jubilee. The festival was cancelled (and again in 2021 btw). You know, pandemic...
But instead the rotating sign spent some time in Copenhagen Harbour on Ofelia Plads.
The path to becoming a full-fledged king was still ahead and lay through the knowledge of their own capabilities and training. The Taoist who took him as a disciple taught him how to fly on a cloud, 72 transformations and other magic tricks. Sun Wukong was away from home for a long time.
I'd love to write more about this image, but when you don't have that the shared dream, then there is little point.
This year Goku got sick, he had something in his eyes...
He was getting all my attentions, and Toji and Chihiro were also treating him the best they could.
Lua, however, got jealous with all attention he was receiving, and decided to ignore him.
But Lua'is Goku's love, his sister, from whom he was never apart. He was very upset about being rejected by her.
So I took her for a conversation, told her that she could not do that to him, that she needed to be supportive, he was in pain, and that's why everybody was treating him like this.
To my surprise, after meditating a little (she always takes her time when we talk) she got close to him and started to clean his eyes... I couldn't just believe in what was happening, and here is the picture of this story for you!
A comfortable study bedroom in the Ruth Deech building, in a modern block at St Anne's College, completed in 2005, while I am teaching on the Understanding Historic Buildings course organised by Historic England. Lit by by a very narrow window on the left, now equipped with a roller blind which prevents it being opened , and a door onto a balcony barely large enough to stand on.
Understanding Sunday: Pentacon 29mm / 2.8 MC Auto (M42)
PENTACON auto MC 29mm f/2.8
Pentacon 29/2.8 comes in a straight line from the Meyer Optik Görlitz Orestegon 29mm f/2.8. Produced in the years 1970/1991. During this period changed several times. Initially, a copy of the version of Meyer Orestegon 29mm f/2.8, then the electric version, and in the end version of the MC - There are also non-electric versions of the MC. It is a wide-angle lens with a very good f/2.8. Version of what I test is one of the last what was produced. Great multilayer coatings MC. The quality of workmanship as good as the old lenses Meyer. The lens has only 6 aperture blades. In a digital camera to take pictures with this lens requires a lot of attention already. Pictures are not sharp - just above f/11 we can talk longer with acceptable results. All the magic of color lenses Meyer here almost disappeared. You have to make an effort for it to have a picture in itself is a beautiful thing.
Focal length [mm]: 29
Maximum aperture: 22
Minimum Aperture: 2.8
Fixing: M42x1
Minimum distance [m]: 0.25
Filter Diameter [mm]: M55x0.75
Number of diaphragm blades: 6
Diameter [mm]: 64
Length [mm]: 53
Weight [g]: 210
Ref: m42lens.blogspot.com/2014/04/pentacon-auto-mc-29mm-f28.html
This era has quietly taught me that silence often wins more battles than logic ever could.
I've realised that so many people no longer listen to understand — they listen to reply, to defend, to prove a point that already lives comfortably in their own heads.
Arguing feels pointless when understanding is no longer the goal.
So now, I just say "okay." Not because they're right, but because peace has become more valuable to me than validation.
I've outgrown the need to make myself heard by minds that are already closed — sometimes, silence speaks louder than any explanation ever will.
— Balt Rodriguez
El lémur grande del bambú (Hapalemur simus) es una especie de primate estrepsirrino de la familia Lemuridae, la más grande de las tres especies de lémur de bambú. Es un gran lémur grisáceo pardo con orejas blancas. Come exclusivamente bambú, prefiriendo los brotes, pero luego continúa con talluelos y hojas. Se desconoce cómo su metabolismo degrada el cianuro de los brotes. Su único predador es el fosa (Cryptoprocta ferox).
Esta especie cuenta con una increíble visión binocular y una nariz bastante sensible, capaz de percibir los olores de marcación de territorio. La mayoría tienen unas colas muy largas, que permitan que el animal pueda mantener el equilibrio.
Se conoce como uno de los primates más pequeños del mundo, y como primates que son, sus manos están formadas por cinco dedos y uñas y no por garras, lo que les facilita agarrar y manipular objetos.
El lémur grande del bambú se encuentra en peligro crítico de extinción, y fue incluido en la publicación bienal Los 25 primates en mayor peligro del mundo, en los años 2002, 2006, 2008 y 2010. Se dice que tiene una población de entre 100 y 160 individuos.
La destrucción de su hábitat es una gran amenaza para su supervivencia, incluyendo la destrucción de las selvas debido a la agricultura y la intensiva tala y quema del bambú, además de esto, a este tipo de primates también se le caza en algunas áreas.
Las poblaciones están protegidas principalmente en los parques nacionales de Ranomafana y Andringitra.
Son unos animales bastante sociales y la mayoría del tiempo la pasan subidos a árboles o arbustos. Se comunican mediante sonidos y marcas de olor.
El tiempo de apareamiento dura en torno a tres semanas por año y el periodo de gestación puede durar de dos a seis meses.
El número de crías varían según el tamaño, los de mayor tamaño solo tienen una cría y los de menor tamaño, normalmente, tienen más de una.
Las crías al nacer son amamantadas, hasta la aparición de sus primeros dientes y para moverse de un lugar a otro lo hacen agarrándose de la piel de su madre, o cuando son demasiado pequeños y no pueden agarrarse ellos solos, la madre les sostiene con sus labios.
Su esperanza de vida es bastante alta en relación con los que viven en su entorno natural, pudiendo llegar a alcanzar los 30 años sin mostrar signos de envejecimiento debido principalmente a su alimentación.
es.m.wikipedia.org/wiki/Prolemur_simus
The greater bamboo lemur (Hapalemur simus), also known as the broad-nosed bamboo lemur and the broad-nosed gentle lemur, is a species of lemur endemic to the island of Madagascar.
Originally described as Hapalemur (Prolemur) simus by John Edward Gray in 1870, it was regarded simply as Hapalemur simus as early as 1880. With the understanding that this species is more closely related to the ring-tailed lemur (Lemur catta) than to the other Hapalemur species, Colin Groves resurrected
Prolemur as a full genus in 2001, with this species as its only member. More recent research by Herrera and Dávalos (2016) indicates that the species is sister to all of Hapalemur, and that Lemur is sister to Hapalemur + simus, and that it should remain in Hapalemur.
The greater bamboo lemur is the largest bamboo lemur, at over 2.3 kg. It has greyish brown fur and white ear tufts, and has a head-body length of around 46 cm. They have relatively long tails and long back legs for leaping vertically amongst the trees of their forest habitat.
Its only confirmed predators are the fossa and the bush pigs, but raptors are also suspected. Protection from predators, avoiding parasite vectors, and enhanced thermoregulation are three theories that are not mutually exclusive to explain the selection of sleeping location. The fossa hunts the Great bamboo lemurs in large numbers. As a result, the lemurs must maintain a secure sleeping environment, such as tree holes and constructed nests.
Its current range is restricted to southeastern Madagascar, although fossils indicate its former range extended across bigger areas of the island, including as far north as Ankarana. Some notable parts of the current range are the Ranomafana and Andringitra National Parks.
Greater bamboo lemurs live in groups of up to 28. Individuals are extremely gregarious. Because of their social nature, greater bamboo lemurs have at least seven different calls. Males have been observed taking bamboo pith away from females that had put significant effort into opening the bamboo stems. In captivity, greater bamboo lemurs have lived over the age of 17.
It feeds almost exclusively on the bamboo species of Cathariostachys madagascariensis, preferring the shoots but also eating the pith and leaves. It is unknown how their metabolism deals with the cyanide found in the shoots. The typical daily dose would be enough to kill humans. Greater bamboo lemurs occasionally consume fungi, flowers, and fruit. Its main food source is bamboo and it is the main reason why it has become critically endangered. Areas with high density of bamboo have major human disturbances, where humans cut or illegally cut down bamboo.
The greater bamboo lemur (Hapalemur simus), is one of the world's most critically endangered primates, according to the IUCN Red List. Scientists believed that it was extinct, but a remnant population was discovered in 1986. Since then, surveys of south- and central-eastern Madagascar have found about 500 individuals in 11 subpopulations. The home range of the species is likewise drastically reduced. The current range is less than 4 percent of its historic distribution. The reason for the endangerment is climate change and human activities which depleted the primary food source. Greater bamboo lemur is a part of prosimian species, which appeared even before monkeys. This species of lemur is not capable of adapting to the rapidly changing habitat. Human activities and climate change have resulted in the depletion of populations and resulted in a few remaining patches of forest capable of supporting this species. The species is endangered by the following: slash and burn farming, mining, bamboo, and other logging, and slingshot hunting. It was formerly one of "The World's 25 Most Endangered Primates."
image taken and processed by the subconscious mind.
no cloning, every head is real and broken! not including mine.
© All rights reserved.
The New Mexico Photography Field School Landscape Photography Class.
I am deeply grateful to my teacher Craig Varjabedian and his workshop assistant Jay Packer. They were wonderfully skilled guides in helping me to orient myself to the basics of landscape photography. Their understanding and grasp of technical and aesthetic aspects of picture taking and the ineffable mysteries of photography are simply awesome and a delight. www.photofieldschool.com/craig.html
Craig Varjabedian is a fine-art photographer of the lands and peoples of the American West and Southwest and is Director of the Field School. He was born in Canada and began photographing at the age of thirteen. He has subsequently sustained an artistic career spanning over thirty years, which began in earnest in 1971 and involved studies with Phil Davis at the University of Michigan and Paul Caponigro in Santa Fe. Varjabedian’s first one-man show was at the Albuquerque Museum in 1994. Since that time he has been widely exhibited in museums and galleries throughout the United States. Grants from the National Endowment for the Arts, the Samuel H. Kress Foundation and the McCune Charitable Foundation have been awarded to Varjabedian over the course of his photographic career in recognition of his powerful imagery. His pursuit of an intensely personal vision has culminated in images of moments made extraordinary by light and life. He approaches his subjects receptively, preferring to utilize an intuitive approach rather than arranging forms and recording surface details. In the final analysis, Varjabedian’s photographs allow viewers to share in the authentic experience of an artistic process which celebrates luminous and heartfelt experience.
Upcoming books of his photographs include Four & Twenty Photographs: Stories from Behind the Lens (Spring 2007) and a book on Ghost Ranch (Spring 2008), both with Santa Fe author Robin Jones, which will be available from the University of New Mexico Press. The late Beaumont Newhall, preeminent photographic historian, wrote, “The remarkable photographs by Craig Varjabedian are not only beautiful but also extremely valuable documents of architecture, culture, and lifestyle of Northern New Mexico.”
www.photofieldschool.com/craig.html
I took this photo at Ghost Ranch where Georgia O'keefe lived and painted. It is said that she claimed that if she painted a nearby mountain enough times god had told her that it would be hers. She is buried there. This is a spiritually and artistically inspiring awsome place.
Ghost Ranch was part of a land grant to Pedro Martin Serrano from the King of Spain in 1766. The grant was called Piedra Lumbre (shining rock). The name "Ghost Ranch", or the local name Rancho de los Brujos, was derived from the many tales of ghosts and legends of hangings in the Ranch's history.
"When I got to New Mexico, that was mine."
In this way Georgia O'Keeffe described her instant love for Northern New Mexico, a love that lasted the rest of her life. The time was 1917, the event was a trip O'Keeffe and her sister Claudia took to New Mexico and Colorado from their home in Canyon, Texas. Yet it was 12 years before O'Keeffe returned to New Mexico and even longer before she found her way into the beautiful valley that would eventually become her summer home.
In 1929 O'Keeffe went to Taos at the invitation of friends Dorothy Brett and Mabel Dodge Luhan. There she heard of Ghost Ranch and once even caught a tantalizing glimpse of it from a high plain. In 1934 she finally found the ranch but was dismayed to learn that it was a dude ranch owned by Arthur Pack. However, a place was available for her that night in Ghost House and she spent the entire summer at the ranch.
That established a pattern she would follow for years, summers at Ghost Ranch exploring on foot and on canvas the beauty of the place, winters in New York. Because she was basically a "loner," she soon sought Ghost Ranch housing that was somewhat isolated from the headquarters area. Pack offered to rent her his own residence called Rancho de los Burros; this suited her very well. One spring she arrived unexpectedly and found someone else in the house. She demanded to know what those people were doing in her house. When Pack pointed out that it wasn't her house, she insisted that he sell it to her. Thus she became the owner of a very small piece of Ghost Ranch land: a house and 7 acres. (In later years she told a ranch employee doing roadwork near her home, "I wanted enough land to keep a horse - all Arthur would sell me was enough for my sewer!")
But Rancho de los Burros was a summer place and also a desert one. O'Keeffe wanted a garden and a winter home. Eventually, she bought 3 acres in the village of Abiquiu. She spent 3 years remodeling and rebuilding the crumbling adobes before the place was fit for human habitation. After her husband, Alfred Stieglitz, died, O'Keeffe left New York to make Abiquiu her permanent home.
In 1955 Arthur and Phoebe Pack gave Ghost Ranch to the Presbyterian Church. O'Keeffe was aghast. The Packs should have sold her the ranch, she thought, and besides, she never cared much for Presbyterians anyway. Her precious privacy would be gone. However, from the very beginning of this new relationship the Presbyterians respected and tried to preserve the privacy of their famous neighbor. Visitors were told, as they are today, that Rancho de los Burros was on private land with no public access. Gradually her fears were allayed and the relationship grew warmer. Office personnel sometimes did secretarial work for her; Ghost Ranch folks replaced the pump on her well. O'Keeffe became friendly enough with long-time ranch director Jim Hall and his wife Ruth to have Christmas dinner with them.
She made a money gift toward construction of the Hall's retirement home on the ranch. When fire destroyed the headquarters building in 1983, O'Keeffe immediately made a gift of $50,000 and lent her name to a Challenge Fund for the Phoenix campaign which resulted in replacing the headquarters building and adding a Social Center and the Ruth Hall Museum.
During the last few years of her life O'Keeffe was unable to come to Ghost Ranch from Abiquiu. Eventually she moved to Santa Fe where she died in her 99th year, reclusive to the end. "I find people very difficult," she once said.
Ghost Ranch gave her the freedom to paint what she saw and felt. Knowledgeable visitors can look around and identify many of the scenes she painted. Red and gray hills like those across from the roadside park south of the ranch headquarters were frequent subjects. Kitchen Mesa at the upper end of the valley is an example of the red and yellow cliffs she painted many times. Pedernal, the flat-topped mountain to the south, was probably her favorite subject. "It's my private mountain," she frequently said. "God told me if I painted it often enough I could have it." And of course, the Ghost Ranch logo, used on everything from stationery to T-shirts, was adapted from an O'Keeffe drawing.
www.nationaltrust.org.uk/main/w-formby-2.htm
Formby
North west coast, between Liverpool and Southport
Stunning coastline with large areas of beaches, sand dunes and pine woods
Don't miss
Stunning stretch of unspoilt coastline
Long, sandy beaches and attractive pine woods
Search for 5,000-year-old red deer footprints on the beach
You may catch a glimpse of a rare red squirrel
Making the most of your day
Environmental artwork on the theme of 'changing coastlines'.
Pine Woods
Enjoy a stroll around the peaceful pine woodlands and look out for the endangered red squirrel. The woods here are one of seventeen red squirrel reserves in northern England; the reds are attracted by the large numbers of conifers, as they feed on the ripe pine cones.
Beach
Wide open skies and an expanse of space make the beach at Formby a fantastic get-away from hectic urban life. Erosion of the sand has revealed footprints from animals and humans dating back to the late Neolithic/early Bronze Age, about 3500 to 7000 years ago.
Asparagus fields
The asparagus grown among the sand dunes at Formby is world-famous. In the 1930s it was so popular that it was served to passengers on the luxury liners leaving from Liverpool. Work is currently underway to develop an 'asparagus trail', which will lead visitors through the heart of this historic landscape
Dunes (through coastal path route)
These beautiful dunes form a part of one of the largest areas of dune habitat within the UK and provide an excellent home for many rare and endangered species such as the Natterjack Toad and the Northern Dune Tiger Beetle. They are under constant threat from erosion, however, and the dunes move inland at a rate of approximately four metres a year.
Get in touch
Victoria Road
Freshfield
Formby
Liverpool L37 1LJ
01704 878591 (General enquiries)
01704 874949 (Learning and educational enquiries)
Email: formby@nationaltrust.org.uk
Facilities
Important Note
WCs close at 5.30pm in summer, 4pm in winter. Coach parking is restricted and must be booked
WCs
At the roadside near to Victoria Road entrance. Open 9am to 5.30pm in summer, closes 4pm in winter. Closed Christmas day
Families & children
Baby-changing facilities in the women's and men's WCs
Dogs
Dogs welcome, but please keep pets under close control at all times and on a lead in the vicinity of the squirrel walk. Please clear up after your pet and take any mess home with you.
Picnic areas
There are three picnic areas close to Victoria Road. The picnic area to the south of Victoria Road is a dog-free area.
Eating and shopping
Ice cream van in car park in suitable weather. Local shops in Formby village centre.
Public houses
Several pubs in local area.
Information for visitors
Welcome leaflet and various Sefton Natural Coast walking, cycling and event guides are all available from the car park entrance kiosk.
Audio guide
Audio guide available from the car park entrance kiosk, please contact us for more information.
Learning
Formby is a unique site for environmental education with a superb range of study options for woodland, beach and dune habitats.
We have a variety of guided and self-guided tours and learning activities on offer, all of which are designed to meet National Curriculum requirements.
Booking is essential and all groups must book at least two weeks in advance. Bookings and enquiries can be made by telephoning 01704 874949.
Getting there
Car-free travel highlight
Easily accessible by public transport, Freshfield train station is ½ mile easy walk from the entrance to Formby along pavements.
For the more energetic, Sefton Coastal Path runs through Formby
By foot
Sefton Coastal Path runs from Crosby in the south to Crossens (north of Southport) in the north and cuts right through the property. There are rail stations along the route with various points of entry.
By bike
National Cycle Route 62 runs within 3 miles of the property at Ainsdale, from here you can follow on-road routes to Formby. Please note, these roads can be busy at times and access to the property is via a busy dual carriageway.
For more information visit Sustrans.
By bus
Arriva 48A, Southport to Formby, frequent service. Alight at Cross Green, then 5 minute walk to Formby.
Cumfy Coaches 160/1/4, Formby station to Freshfield station. Alight end of Harrington Road/Victoria Road, then 10 minute walk to Formby.
For more information visit traveline.
By train
Frequent services from Liverpool and Southport stations to Freshfield station, then ½ mile walk, along pavements, to the entrance of Formby, or 1 mile to Formby beach.
For more information visit Transport Direct .
By road
M62 then M57, or M6 then M58. Follow signs for Southport and central attractions (A565), heading north on the dual carriageway. Continue straight over the 1st roundabout (ignoring the sign for Formby). At the traffic lights, which are at a crossroads, take a left into Formby and follow the National Trust brown signs.
From Southport follow the A565, head south on the dual carriageway, turn right at the BP roundabout and then pick up National Trust signs.
Ordnance Survey maps
Landranger Liverpool 108
Explorer Southport and Chorley 285
Access
Mobility information
Parking
Designated accessible parking spaces on the roadside at Victoria Road. Parking is within 75 metres of WCs.
WC
One accessible WC with RADAR lock. Key is available from the entrance kiosk during normal opening times.
Pathways and open space
Access to the beach is over dunes, which are soft under foot and liable to change in certain weather conditions. Some short sections of paths with a gradient of 1:8. For more information please visit the Sefton Coastal Path website.
All-ability trails
There is an all-ability trail suitable for wheelchairs and pushchairs, which runs through the woodland and asparagus fields.
Seating, rest points and shelter
Benches positioned along Sefton Coastal Path, south of Victoria Road. Resting points on Squirrel Walk and Cornerstone Walk.
Visual information
Braille guide available at entrance kiosk.
Sensory highlights
Listsen out for the wind in pine trees, the cry of sea birds and the roar of the tide. Soak in the remote atmosphere and enjoy the sense of being in a wide, open space.
Red squirrel population
Formby red squirrels comeback continues!
Formby is well known as a special place to see red squirrels though numbers fell drastically during 2008 due to an outbreak of squirrel pox virus. Two years on and recovery seems to be well on the way. Signs of red squirrels feeding are widespread in the pine woods, reports of sightings in local gardens are coming in daily and visitors are excited by the increasing frequency of sightings during their woodland walks. Indeed we anticipate the results of Autumn monitoring will show that red squirrel population has recovered to over 50% of the pre squirrel pox level.
The National Trust Formby is at the heart of the Sefton Coast woodlands where a co-ordinated forest plan has been implemented since 2003 to improve the red squirrels habitat. The coastal woodlands provide an ample source of pine cones and seeds which are readily exploited by the red squirrels. But grey squirrels appear in the neighbouring residential areas each year and the National Trust is keen not to attract greys into the red squirrels woodland stronghold. For this reason, feeding of nuts and other food supplements to the red squirrels was abandoned. National Trust wardens want to prevent contact between red and grey squirrels to prevent risk of disease transmission.
If you’re planning a visit to National Trust Formby now, you have a much better chance of seeing a red squirrel than 12 months ago; but expect a different experience – bring your binoculars and follow our woodland trails to track down squirrels feeding in the tree tops. The reds spend much time daily, feeding on natural foods like pine cones which are much better for them than peanuts on the ground!
Formby Red Squirrel Survivors Project
The success of National Trust on-line gift sales in the 2007 Christmas catalogue – which were specifically for red squirrel conservation at Formby – is helping to support vital research along with funding from the Natural Environment Research Council.
In October 2009 pioneering new research into the squirrel pox virus started at Formby. The study, led by researchers at the University of Liverpool, is looking at exactly how the reds become infected by the virus, and whether any of them have survived exposure to squirrel pox virus. The project hopes to provide a better understanding of how an outbreak of squirrelpox develops and what can be done to break the links that allow it to spread.
Professor Mike Begon from the University of Liverpool, said:
'We are working to understand the dynamics of the squirrelpox virus and what might halt its spread. We are starting to see evidence of recovery in the red squirrel population but it is still important that we prevent contact between red squirrels and the greys that carry the virus. We are hopeful that our research will provide us with the knowledge we need to ensure the long term survival of red squirrels across the UK.'
For further information please call the National Trust Formby office on 01704 878591 or e-mail formby@nationaltrust.org.uk
"You must see things I don't."
So went the quote from a work colleague a few days ago having seen some of my pictures - and within moments it dawned on me I couldn't wish for a better accolade! What a great line, and even though much of my photography may be... somewhat obvious, I crave those times when it rings true. It's happened to me on several occasions, times when people passing hesitate, glance discretely (or sometimes so blatantly as to be almost rude) in the direction of my lens and look puzzled. I really love those situations, so much so I almost become disappointed if I don't catch sight of a sneaky double-take... There was a time when I'd try to explain, but I rarely bother nowadays - instead it either means I'm wasting my time in pursuit of something too obtuse to merit wider appreciation, or I'm really on to something. That little facet of mundanity laden with potential that noone saw, nobody noticed... they just didn't see.
There are certain subjects that warrant attention from everyone's camera, icons that have been photographed thousands of times just because, well, because they're so fantastically photogenic. We all shoot these, and I see nothing wrong in it - does a memorable scene become less so simply because the world has viewed it? Or does it's appeal blossom still further? Naturally we all seek originality in an artform where (like all others) it's becoming increasingly difficult to achieve, and once in a while we may strike lucky - it all comes down to perception, understanding, interpretation and realisation. But I hope there will always be scope for further exploration of those subjects which a small, nagging voice whispers are taboo either by repetition or familiarity.
I understand 4 7 A, I've seen it.
The horses have taken over!
A series of AI-generated pictures of horses at the campfire in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.
Ana Maria Bejar. Ana Maria broke up the Savoye ramp into 6 steps and recreated them as a spiralling path that ended underground.
Chavonda Jacobs-Young, undersecretary of Agriculture for research, education and economics, gives remarks at an event where NASA Administrator Bill Nelson and U.S. Secretary of Agriculture Thomas Vilsack signed a memorandum of understanding between the two agencies, Wednesday, June 21, 2023, at the USDA’s Jamie L. Whitten Building in Washington. The agreement strengthens the collaboration between the two agencies, including efforts to improve agricultural and Earth science research, technology, and agricultural management, as well as the application of science data and models to agricultural decision making. Photo Credit: (NASA/Bill Ingalls)
West Palm Beach / Jul 11, 2022
25-story building set to bring a new class of luxury to office sector in 2024.
Related Companies today announced six top-ranking firms to expand their footprint into West Palm Beach’s forthcoming Class-A office One Flagler. Situated at the gateway to Palm Beach Island and connecting West Palm Beach's past and future, the building continues to attract a selection of the nation’s most influential financial and professional services firms.
Built on Related’s legacy of elegance, style and service, the building is expected to open at the beginning of 2024 with the most prestigious WiredScore Platinum rating, the world’s only internationally recognized digital connectivity rating platform.
Today, the building is nearly 60 percent pre-leased including:
GTCR, a leading private equity firm founded in 1980, will expand its existing presence in the market by opening a new West Palm Beach office. Their new office is expected to open in mid-2024. GTCR is headquartered in Chicago and has an office in New York. Colliers, Ryan Barr, Alain LeCoque and Bob Schneiderman, represented GTCR.
Diameter Capital Partners, a global credit-focused asset manager headquartered in New York, will move its West Palm Beach office to the building. The move is expected to be completed in mid-2024.
Four additional confidential firms spread across the financial services and pharmaceutical industries.
These companies join First Republic Bank and private equity firm Siris Capital and represent 50,000+ square feet of new leases.
“The expansion of our presence in West Palm Beach into this new space reflects our growth as a firm and our continued confidence in the region as a business and investing center,” said Collin Roche, co-CEO and managing director of GTCR. “The West Palm Beach market offers a unique and differentiated option for talent and diversity and building our footprint further in the city will allow us to compete for the best people. The space at Related’s One Flagler will create a dynamic environment for further collaboration within our teams and with members of the growing investment community in the area.”
“We are pleased to welcome a high caliber list of significant tenants from leading U.S. markets who believe in the power of West Palm Beach and have witnessed the evolution of the destination as a booming financial district,” said Gopal Rajegowda, partner, Related Southeast.
Designed by world-renowned architect David Childs, One Flagler is a 25-story Class-A office building that will anchor West Palm Beach’s Okeechobee Business District and the Flagler Financial District. It will include 270,000 square feet of flexible office space, 4,100 square feet of retail space, over 10,000 of indoor and outdoor upscale dining led by Estiatorio Milos by Costas Spiliadis and a reading room open to both the public and members of the adjacent First Church of Christ, Scientist. The church, designed by architect Julian Abele in 1928, is considered one of the most architecturally significant buildings in all of Palm Beach County and would be preserved in perpetuity by One Flagler. The project will also feature a living green wall adorning its parking garage and include 1.25 acres of green space extending the waterfront greenbelt.
Related Companies is the visionary firm behind some of the world’s most impactful mixed-use urban neighborhood developments and, in the past few years alone, has created more than eight million square feet of office space for dozens of diverse business leaders across all industries, including WarnerMedia, SAP, Sidewalk Labs, Wells Fargo, KKR, Google, Facebook, Converse and Tapestry. In West Palm Beach, Related has demonstrated a deep understanding of workplace needs with its widely acclaimed CityPlace Tower and a legacy in neighborhood placemaking with the conception of the original CityPlace, now called The Square.
Jon Blunk, president of TCRE, is the exclusive leasing agent for One Flagler and represented Related in the transactions.
About Related Southeast:
Headquartered in the heart of rapidly expanding Downtown West Palm, Related Southeast is Related Companies’ locally based, global real estate and lifestyle company that has redeveloped Downtown West Palm into one of the nation’s fastest growing commercial, retail, culinary, art and tourism destinations. Related Southeast leads the market in Class A office with 360 Rosemary, CityPlace Tower, Esperanté, Philips Point and the forthcoming 1 Flagler, as well as the celebrated destinations of Rosemary Square, Hilton West Palm Beach, RH West Palm and the historic Harriett Himmel Theater. The dynamic neighborhood built for all to enjoy has recently undergone a $700 million transformation designed to foster culture and enrich the community with lush green spaces; a diverse mix of experiential retail and culinary offerings; the largest concentration of public art installed by a private company in Palm Beach County, featuring renowned artists such as Yinka Shonibare, CBE and Jeppe Hein; rich cultural and educational programming and modern luxury residences. For more information about Related Southeast, please visit www.relatedsoutheast.com.
Credit for the data above is given to the following websites:
www.relatedsoutheast.com/press-releases/2022-07-11/relate...
issuu.com/pbmg/docs/pbi_0223/106
www.skyscrapercenter.com/building/one-flagler/32010#:~:te...
en.wikipedia.org/wiki/David_Childs
© All Rights Reserved - you may not use this image in any form without my prior permission.
Last night, the 23 of September 2024, she wrote to me again, a WhatsApp message, but our messages sometimes take on the form of short essays. No, essays is the wrong word, personal missives, perhaps exchanges about our mutual failings as friends, or records of successes, even.
They are 36 years of evidence of that symbiotic support and understanding, which runs to an ever-expanding million and a half words.
This isn’t us, it does look very like us however, most definitely in the case of Rack. I couldn’t have achieved this before, prior to the advent of A.I. I am at an age now where I don’t have the energy to make pieces this large anymore, and I now share last centuries plague with Rack, which saps energy and ages one beyond one’s years.
I have no complaints.
I call her Rack, this of course is not her name, like mine is not Ruin. But both names suit the us that isn’t us.
Anyway, Rack inspired a body of work, which is partially hung in
the ‘Irish Museum of Modern Art’, the permanent collection. I would like to get what remains of that series into the same institution before I die, or after even. I am not in a hurry. She is hung there with me already. I would just like for them all to be safe. They were made as a series, and were never intended to be seen separately.
I also want to weave the story of ‘Rack and Ruin’ into a type of
‘picture book’ here.
I do need to enter 'Infrathin' to do this, so the other characters will all be there, Rrose, Dolly (the first cloned sheep), Falstaff (the giant silverfish), James and Marcel and the rest of the motley crew. They have all being showing me the way, and I hope this continues for a while longer.
My head was always too big for my body, and my neck too thick for my milk-bottle shoulders. A.I. appears to have got that partially right.
Rack thanks me for giving her a neck. I can't help it, I am a Duchampian mannerist.
Clever, frightening, A.I. I both love it and hate it, which is exactly as it should be, perhaps.
Day 104/365
"Understanding Photography"
you can't understand photography without spending your time to learn it...
Strobist Info: 580EX II 1/1 power in 28" softbox next to the camera, another 580EX II 1/1 power with blue gel, behind me pointed to the wall.
Triggered via PocketWizard Mini TT1 and Flex TT5.
“Life Underground” is a permanent public artwork created in 2001 by American sculptor Tom Otterness for the 14th Street - Eighth Avenue station of the NYC Subway. The installation is a series of whimsical miniature bronze sculptures depicting cartoon like characters showing people and animals in various situations, and additional abstract sculptures, which are dispersed throughout the station platforms and passageways. The sculptor said the subject of the work is "the impossibility of understanding life in New York” and describes the arrangement of the individual pieces as being “scattered in little surprises”