View allAll Photos Tagged aeshetic
On this Man Cave Event, CheerNo release the new Briefs Cow.
Available in 12 packs 6 Regular and 6 Limited, for Jake | Legacy | Gianni | Aeshetic.
Out now at Man Cave
Taxi: maps.secondlife.com/secondlife/Match/192/121/46
I got busy with the Aeshetic body and a Catwa head. Check my blog for the deets: billybeaverhausen.com/2019/09/13/pleasing-aesthetic-episo...
We came across many jellyfish and this one looked like a face with eyes,while walking on the beach at black rock sands near Porthmadog.
this from my trip in berlin exploring the night cityscape
it's much better viewed large as you can then enjoy the aeshetic silhouette of the girl waiting for the bus...alone
Flickr Group: www.flickr.com/groups/1058244@N24/
Just got this with a case in practically new condition!!! It has Zeiss glass, but I'm curious as to whether it is the same glass in the t3 and T4. I can't find a whole lot of info regarding this camera. Anyone have any idea? Picture is cropped a little weirdly because the bottom of the image was corrupted. I'll post another photo of this camera soon
Ask a Mac veteran what he misses most about Mac OS 9 and usually he or she will give you a list of the following features:
Labels, Put Back, WindowShade, Tabbed Folders and Themes.
Of course, the old Mac OS 9 concept known as "Labels" was re-introduced in Mac OS 10.3 Panther, while the "Put Back" feature was recently "put back" in Mac OS X 10.6 Snow Leopard. WindowShade was actually developed as a shareware app by Unsanity, the notorious developer of Application Enhancer, the third party module which caused many of the initial blue screens in Mac OS 10.5 Leopard. The shareware app known as "Sticky Windows" approximates many of the functions of Tabbed Folders in OS 9 (Note: Sticky Windows and WindowsShade do not work in Snow Leopard).
Themes, the ability to change the "look" of the Mac OS, is the only remaining legacy feature that I personally would like to see brought back, if for no other reason that as a former Windows user, I pine for the days when I could change the look of my "Windows" on a whim.
Given many people's disgust with the translucency of the Dock, I see Themes as a positive step forward. It would also remove the need for third party developers to create hacked solutions, which may or may not crash future versions of OS X.
Imagine being able to turn the Dock and Finder into varying types of wood or emerald green or even the brushed metal of those bygone years of OS X. Harmful to the personal aeshetics and tastes of Steve Jobs? Possibly. Okay, almost certainly, but given Apple's creed to "Think Different," this could only be a good thing.
Related Links:
Themes in Mac OS 9
www.guidebookgallery.org/pics/gui/settings/desktopthemes/...
Themes in Windows
www.microsoft.com/windowsxp/using/setup/personalize/look....
Five Mac OS 9 features Apple should bring back
www.techradar.com/news/computing/apple/5-mac-os-9-feature...
A Visual History of Desktop Themes
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
The best view of an Autosan - in the dark. Not that I'm suggesting they're aeshetically challenged, but..... Sharing a common driveline with some Darts, I understand these motors are built in the former FSO (Polski Fiat) factory. There's nothing really wrong with them, in so far as they are functional motors, but they just ooze 'cheap'.
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
Stemming off from the Movember project, this project was initiated by the very language of the word, Movember, which is a portmanteau of November and moustache. To promote a fictionally upcoming exhibit on the oddities and eccentricities of the English language, to be held at the Boston Public Library, a poster set and card/puzzle invitation were created to be handed out at the library and community centers. The very form of the project is representative of the complex and complicated nature of the English language. Individuals would be given the card set, filled with fun tidbits about words and constructs in the English language, as well as the information about the event itself, and it is up to them to construct the message of the poster. Just like grammar and the famous phrase "Colorless green ideas sleep furiously" by Noam Chomsky, which grammatically and structurally makes perfect sense, but has no real meaning, the cards can be arranged in a variety of ways that are aeshetically pleasing but have no real message. By putting together the cards in a certain order, like words, the message, or sentence, becomes meaningful.
Ashampstead
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
See "English Medieval Wall Paintings The Thirteenth Century by Professor E.W.Tristram OUP, 1950)
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
Ariel Reichman's short interview about his project in San Anton old prison in Cartagena for Manifesta 8.
Footage and interview by Davis Berg and Henna Hyvärinen.
Produced by the Finnish Academy of Fine Arts and CPS Chamber of Public Secrets.
Watch this video on Vimeo. Video created by Alfredo Cramerotti.
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
Growing up in the Pacific Northwest, Chihuly found inspiration in Native American weaving and basketry. The decorative patterns featured on the baskets and textiles are reflected in the glassthread drawings that adorn the surface of the Cylinders and Basket featured.
Breaking with tradition, Chihuly embraces a freedom of form and asymmmetry in his Basket series. In 1977, Chihuly visited the Washington State Historical Society in Tacoma where he was struck by a display of Northwest Indian baskets that had slumped and warped due to the effects of gravity over time. Chihuly applied this aeshetic to his work allowing gravity and heat to shape the glass into asymmetrical and organic forms.
P1160503 (2)
Michael Takeo Magruder talks about his work “(in)Remembrance(11-M)″ at MURAM in Cartagena for Manifesta 8.
Footage and interview by Davis Berg and Henna Hyvärinen.
Produced by the Finnish Academy of Fine Arts and CPS Chamber of Public Secrets.
Watch this video on Vimeo. Video created by Alfredo Cramerotti.
St Clement, certainly possesses some of the finest remaining wall-paintings within the county of berkshire, also a delightful rustic interior full of character. The paintings were discovered in 1895 having been whitewashed over during the reformation, the St Christopher (over the vestry door, lower half only) was destroyed when the roof angle was changed in C16. Some of the paintings were discovered as late as 1930, it is possible that there are yet more to be revealed, however the Baroque Bodman monument behind the pulpit prevents any further revelation. They remain in surprisingly good condition, the Nativity scene is said to bear a close resemblance to a window at Chatres and is of a similar date. An elaborate doom and Christ in Majesty , The Virgin and St.John and six other seated figures (these were discovered under a Crucifixion of a later date), are over the chancel arch. Pevsner described the paintings as no longer aeshetically enjoyable although they were clearly identifiable, unlike those at Stanford Dingley. It is a shame that the tie beam obscures a clear view of the Doom painting, however it is a captivating place , the paintings are thought to date from C.1230-40. It is likely that these paintings were commissioned by the de Newburgh family and that the artists came from Lyre or maybe from English Benedictines from Reading or Abingdon or even Wichester. Ashampstead is a building simple with heavy brick buttresses and a roughcast surface, its bell tower is wooden, the stump of the Yew tree were beneath which the gospel was first preached at Ashmpstead was incorporated into the building. St.Clement's church is first mentioned in medieval times in connection with the Abbey of Lyre.Ashampstead belonged to the chantry known as Shottesbrook; on the dissolution of the chantries and monestaries in 1547 the parish passed to the jurisdiction of the Bishop of Salisbury, and later into The Diocese of Oxford in 1836.
I have loved this expression ever since learning it in architecture studies at Art class. How wonderful that the prosaic purpose of transferring the weight off a Gothic roof to gain majestic height in heavy stone without the whole thing falling in - as regularly happened, while they experimented with the style, gave rise to a thing of beauty.
What an aeshetic pleasure flows from the sweeping, flowing, dancing shapes. A poem in stone, a praise song "ad majorem dei gloriam".
St. Eustache in Paris.
Steven Lavington (1969- )
Acryllic Paint, latex, wood on roof
Not for sale
Artist Statement: A dance between visual harmony and aeshetic displacement, this piece suggests subtle gestures, intense physical effort and a marked density that, at times, subverts ordered structures and gives weight to larger socio-political issues or deeper human contemplation. Soliciting a closer look and requiring a step back, this work psychologically and physically reorders space, inviting us into different dimensions of observation. The spectator knows this image is familiar, possibly from a childhood memory or a vestige of a box in the attic, but what is known is blurred with uncertainty and disorientation. Are we even here? Is this real? Individual destination is lost to the collective, and revelation and erasure are discovered to be the workings of one unified force, completing a cycle and possibly propelling a revolution.
Stemming off from the Movember project, this project was initiated by the very language of the word, Movember, which is a portmanteau of November and moustache. To promote a fictionally upcoming exhibit on the oddities and eccentricities of the English language, to be held at the Boston Public Library, a poster set and card/puzzle invitation were created to be handed out at the library and community centers. The very form of the project is representative of the complex and complicated nature of the English language. Individuals would be given the card set, filled with fun tidbits about words and constructs in the English language, as well as the information about the event itself, and it is up to them to construct the message of the poster. Just like grammar and the famous phrase "Colorless green ideas sleep furiously" by Noam Chomsky, which grammatically and structurally makes perfect sense, but has no real meaning, the cards can be arranged in a variety of ways that are aeshetically pleasing but have no real message. By putting together the cards in a certain order, like words, the message, or sentence, becomes meaningful.
Short interview to Stefanos Tsivolopolous on the works 'Amnesialand' shown at the Casino Society in Cartagena. Footage and interview by Davis Berg and Henna Hyvärinen.
Produced by the Finnish Academy of Fine Arts and CPS Chamber of Public Secrets.
On Tsivolopolus's work:
" In fact one of the most effective works, Amnesialand by Stefanos Tsivopolous, was devised in response to a site not previously used for contemporary art exhibition – the Casino in Cartagena. This was one of a relatively small number of works in ‘¿The Rest is History?’ to fulfil the potential of aesthetic journalism, as theorised by Cramerotti, through its fusion of fictional and documentary modes of address. In addition, while numerous contributions to Manifesta 8 employed a self-consciously ‘archival’ mode of display, Amnesialand was one of the few video installations to make effective use of – and clearly acknowledge – already existing archives. "
[Aesthetic Journalism in Practice: Manifesta 8 and the Chamber of Public Secrets by Maeve Connolly, variant 39/40 Winter 2010]
Watch this video on Vimeo. Video created by Alfredo Cramerotti.
Short interview to Erlea Maneros Zabala on her work shown at MURAM in Cartagena. Footage and interview by Davis Berg and Henna Hyvärinen.
Produced by the Finnish Academy of Fine Arts and CPS Chamber of Public Secrets.
Watch this video on Vimeo. Video created by Alfredo Cramerotti.
Stemming off from the Movember project, this project was initiated by the very language of the word, Movember, which is a portmanteau of November and moustache. To promote a fictionally upcoming exhibit on the oddities and eccentricities of the English language, to be held at the Boston Public Library, a poster set and card/puzzle invitation were created to be handed out at the library and community centers. The very form of the project is representative of the complex and complicated nature of the English language. Individuals would be given the card set, filled with fun tidbits about words and constructs in the English language, as well as the information about the event itself, and it is up to them to construct the message of the poster. Just like grammar and the famous phrase "Colorless green ideas sleep furiously" by Noam Chomsky, which grammatically and structurally makes perfect sense, but has no real meaning, the cards can be arranged in a variety of ways that are aeshetically pleasing but have no real message. By putting together the cards in a certain order, like words, the message, or sentence, becomes meaningful.
🌸Which one do you prefer for this summer? • 🌈 YASSSS, summer is just around the corner🐬
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🔗Which one {1, 2, 3, 4} do you like the most? 🙆♀️Tag a friend 💖
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#aesthetics #aestheticpage #ａｅｓｔｈｅｔｉｃｓ #aestheic #aestheticinstagram #aeshetic #aethetics #aestheticvibes #lightaesthetic #aesthetictheme #greenaesthetic #aestheticphotos #aestetic #aestheticposts #blueaesthetic #ａｅｓｔｈｅｔｉｃ #pinkaesthetic #aestheticedit #grunge #soft (at Miami Beach, Florida)
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It was a fun day, met some amazing people at the exhibition. Took this long exposured photo at there and it came kinda good.
🌼 {1, 2, 3, 4, 5} ? 🌊 If you want to buy them just tap the picture or find it at www.comppers.com 🍃
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#greyaesthetic #aestheticpic #astetic #aestheticinspiration #aestheticvideo #aethetics #lightaesthetic #asethetic #aestheticvibes #softgirlaesthetic #aestheticquote #softaesthetics #aestheticpink #aethetic #angelaesthetic #aestheticvintage #whiteaesthetics #aestheticpicture #aestheticblue #aestheticlifestyle #aesthethic #aestheic #aesthethics #pastelaesthetics #easthetic #aeshetic #ａｅｓｔｈｅｔｉｃｓ #aesthic #ａｅｓｔｈｅｔｉc #aeathetic (at Los Angeles, California)
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