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An exhausted patron seen and photographed taking a needed stretch while viewing an art exhibit at the de Young Fine Arts Museum (FAMSF) in San Francisco, California. A trip to the museum can be an enriching activity and one that enhances you culturally and spiritually, but physically it can sometimes feel like running a marathon.
This photographic image was artistically enhanced using an
application called "Prisma". Prisma transforms normal photos into amazing images that attempt to replicate the human artistic touch. This phone-based app turns photographs into digital art in the style of drawings, watercolors, and paintings.
This photo was taken at a "decisive moment" while two ladies pictured in the de Lempicka portrait on the wall look down upon the patron with the outstretched arms.
The piggu convention blogger applications are now open.
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The piggu convention is sponsored by:
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The main piggu brand will of course be front and centre with our sponsors!
Just a reminder, today is the last day our 2022/2023 Little Gallery applications are online! Please click on the link to download an application, degrazia.org/exhibitions/little-gallery/.
Applications are open for Designers and Bloggers for the Around the Grid 10 hunt.
This hunt will run July 13-Sept 30. Please read all the rules before applying. This hunt will have two prims but one prize. 1L for hunters or 25L for shoppers option.
Apply via website: Designers Applications
funwithhunts.blogspot.com/p/app.html
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FATE is now accepting blogger applications. As a FATE blogger you will receive items from both FATEwear and FATEplay (and any other products I put out!). If you are interested in being an official blogger please fill out the application form tinyurl.com/FATEapply
Thank you!
Guests dancing at the Anand Karaj (Sikh wedding) of a friend of mine. Though totally broke at the time I was honoured to be able to serve as one of her photographers as my wedding gift. I hope the photos bring back happy memories for both of them for many years.
Long exposure taken with a Nikon D40 fitted with a Nikkor AFS DX 18-55mm F/3.5-5.6G II lens, mounted on a gorrilapod. Lighting with an on-camera SB600, bounced off the ceiling a couple of times during the duration of the shot. Image processed in Photoscape in part through the application of a cinema film-filter.
More of my photos can be found here.
Original filename: DSC_0166-1
Street shooter or travel(ing) photographer? Click through to DearSusan - a Web site specifically for travellers and street shooters. That means lots of urban images, some landscapes and the latest camera and lens reviews.
Also on DearSusan you will find the InSight city guides; informative where-to-go and what-to-see PDF-based books for the travelling photographer. If you're planning to visit London, Tokyo, Singapore, Amsterdam, Copenhagen, Cape Town, George Town (Penang) or Istanbul, these guides are available for immediate sale/download and show you a city the tourists don't see. Coming soon are Paris and Edinburgh. The InSight Guides are here: www.dearsusan.net/dearsusan-insight-guides/
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You can see more on my Flickr Photostream or on my Web site.
This image is mine. You may not use it anywhere or for any project without my express permission. Rates for commercial applications are available on request.
Please contact me if you would like to arrange a commercial use, or purchase a print of this photograph.
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Designer Applications *NOW OPEN* April 15 - April 29.
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Smokefest 3 is back this August 2024. Get ready for an unforgettable immersive experience filled with live music, art and good vibes. Apply today to be part of the movement Booths are *free* as our way to say thank you for the support!
Recap:
Smokefest1: youtu.be/6lWU-89gRmw?si=mjJRXcIdWZK1yW27
Smokefest 2: youtu.be/JZBHlF6EPoI?si=iQw-U9ekrPNTymLg
For more, visit linktr.ee/smokefestsl
#SmokeFest #smokefestsl #smokefest2024 #smokefest2023 #SL20 #sl20organization
Seen at Gripsholm Castle Park, Mariefred, Sweden.
Echinacea purpurea 'White Swan'.
Echinacea purpurea ‘White Swan’ bears ivory-white flowers with a mahogany-brown centre on tall stems during midsummer.
Equinacea originates from North America and was employed by the indigenous Indians. Information about the use of the plant from traditional healers ranges from external application for wounds, burns and insect bites to the chewing of roots for toothache and throat infections, and internal application for pain, coughs, stomach cramps and snake bites.
How quickly we forget, (well I do) that the first? Manchester Stagecoach to appear in the new local livery in Feb 2020 appeared with the full yellow bumper, not too popular within a few months the yellow was painted out to what we now know as the standard application. Stagecoach 11259, SN69ZFU was seen back in February 2020 working the 76 route passing through Newton Heath back to Piccadilly.
API, originally Advanced Programming Interface but now more commonly known by its near synonym, Application Programming Interface, is any defined inter-program interface. Más info aquí
foto de mga
As promised since our update to the Venus, Isis and Freya bodies are now complete and our developer kits have been updated we will now reopen our applications to apply to be a Belleza Mesh Creator....
Details on our blog: BELLEZA MESH CREATOR APPLICATION & AGREEMENT – NOW OPEN!
Miami, FL. January 17, 2021. Hasselblad 500 C/M. Carl Zeiss Planar 2.8/80 T* lens/ Kodak Portra 800 film.
An elephant at the Cleveland Metroparks Zoo applies the mud that she made to her underside. Elephants apparently believe in using whole body makup.
Hello everyone, we are looking for active good blogguers to join our official bloguers team this year! If it does interest you, please fill the online application here:
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A fun and exciting event is about to happen! Today, we are happy to announce that we are opening up designer applications for our new monthly event Aenigma! Opening up on February 23rd, the opening round will offer a fun twist on the Valentines theme. If you are a content creator on Second Life, head on over to the event page and fill out the application. We look forward to hearing from you soon!
The Bara Gumbad, or "big dome," is a large domed structure grouped together with the Friday mosque of Sikander Lodi and a mehman khana (guesthouse), located in New Delhi's Lodi Gardens. The buildings were constructed at different times during the Lodi era and occupy a common raised platform. Formerly an outlying area of Delhi, the Lodi Gardens are a British-planned landscaped garden which includes a number of monuments (primarily tombs) from the Sayyid and the Lodi dynasties. Originally called Willingdon Park, the gardens were located in the former village of Khairpur, now on the edge of Lutyen's Delhi, the colonial capital built by the British in the early 20th century. The gardens, which cover approx. 70 acres, have come to be surrounded by institutional buildings and some of contemporary Delhi's most expensive real estate.
Although they were built under the same dynasty, each of the three structures was undertaken separately. The Bara Gumbad, completed in 1490, is considered to have the first full dome constructed in Delhi. Its original purpose is contested; although it appears to be a freestanding tomb, it contains no tombstone. This causes the speculation that the building might have been intended as a gateway for the Friday mosque; however, their respective placements, stylistic differences, and construction dates do not support this theory. The Friday mosque, completed in 1494, is the first example of the new mosque type that developed during the Lodi era. Characterized by a relatively simple five bay prayer hall building adjacent to a simple open courtyard, this type was an important precedent for mosque architecture in the Lodi and Mughal eras.
The complex can be accessed from various points along the roads bordering the Lodi Gardens, with the access from the Lodi road towards the south most prominent. The buildings are situated at a distance of about 300 meters from Muhammad Shah's tomb towards the south and about 380 meters from Sikander Lodi's tomb towards the north. Another prominent structure, the Shish Gumbad, is located facing the Bara Gumbad at a distance of about seventy-five meters towards the north. The area surrounding the buildings is landscaped with manicured grass lawns. Few trees are planted in the immediate vicinity, leaving the view of the structures unobscured. The path winding through the Lodi Gardens approaches the buildings axially from the north, although the building plinth is accessible all from all sides.
The buildings are sited on a three-meter-high platform, measuring approximately 30 meters (east-west) by 25 meters (north-south). The Friday mosque is located along the western edge of the platform; the guesthouse is sited opposite it, occupying the eastern edge, while the Bara Gumbad is located along the southern edge. Stone masonry walls, about six meters high, connect the three structures along the southern edge. The northern edge is provided with staircases for accessing the platform. A centrally located straight flight comprising of eight steps, about ten meters wide, connects the ground to a generous mid landing. Another 'C' shaped flight of eight steps wraps around the landing, creating an amphitheatre-like space and reaching the top of the platform. The current arrangement of steps appears to be more recent, and the remains of walls adjoining the southern face of the guesthouse and the mosque indicate that the northern edge might have originally been walled. In the center of the raised court, with its southern edge along the staircase, are the remains of a square shaped platform, 8 meters wide, which appears to be a grave.
Friday mosque:
The Friday mosque is a single aisled, rectangular building, approx. 30 meters (north-south) by 8 meters (east-west). The mosque is organized in five unequal bays, which correspond to the five arched doorways on the eastern (entry) elevation. The width of the arched doorways decreases from the center towards the sides. The arches span across grey granite piers. The central arch is framed within a projecting rectangular portal, measuring about 8 meters in height by 6 meters wide. The piers of the rectangular frame are cased in dressed granite and have three shallow arched niches in red sandstone, occurring vertically above the springing point of the arch, on either side. The doorway itself is described by four receding planes of ogee arches, the outermost one being in line with the external face of the rectangular portal. The doorways immediately to the side of the central portal are about 5 meters wide, while those at the two ends are approx. 1.5 meters wide with two receding planes of ogee arches, adding to the prominence of the central doorway. The apex of each innermost arch is constant, measuring approx. 5 meters from the top of the platform. Each arch is finished in plaster and embellished with intricate carved Arabic inscriptions. The spandrels are also heavily carved with geometric motifs, and their the corners are adorned with round inscribed plaster medallions. Red sandstone eaves (chajjas) on stone brackets top the arches, interrupted only by the central projecting portal that extends above them. There is a blank plastered frieze above the eaves, followed by the projecting horizontal bands of the cornice that is topped by a blind masonry parapet adorned with petal shaped crenellations with inscribed plaster medallions.
The interior of the prayer hall reflects the five bay division of the eastern elevation. It is a rectangular space, measuring about 27 meters (north-south) by about 7 meters (east-west). Additional arches spanning between the piers on the eastern elevation and the engaged piers of the western wall emphasize the demarcation of the interior space into bays. These internal ogee arches reach a height of about five meters. They are finished in plaster and profusely decorated with carvings of Arabic inscriptions. The piers are unornamented, dressed gray granite.
The qibla (western) wall of the prayer hall is a blind wall divided into five unequal bays expressed as recessed ogee arched niches, reflecting the arched openings on the eastern wall. The two bays adjacent to the central bay have three equal niches carved out from the portion below the springing line of the main arch. These niches are separated by granite piers, which have smaller arched niches in the top third of their elevation. The three niches are made of two layers of ogee arches framed by the piers. The external layer is in gray-yellow granite, while the interior arch is made of red sandstone. The central niche is mildly distinguishable from the others because its arched portion is curved and the imposts are engraved, while those of the adjacent arches are plain. The innermost rectangular portion of the central niche is blank, while that of the adjoining niches has the carving of a vase and flora inscribed in it. The tympanum of the main outer arch is finished in plaster and has an additional niche directly above the central niche which is embellished heavily with plaster carvings of Arabic inscriptions. A band of similar inscriptions runs along the interior perimeter of the arch and around the upper niche in a closed loop. The voussoirs of the outer arch are plastered and embellished with another layer of carvings. The central bay of the western wall also has three niches, each made of four recessed planes of alternating rectangular and arched profiles. The central mihrab niche is taller and wider. It is also shallower and the innermost plane is blank, while the other two niches are deeper set with relief work. A stone minbar with three steps has been provided abutting the northern pier of the central niche.
Hemispherical domes cover the three central bays, while the terminal bays are covered by low flat vaulted ceilings. The square plan of the three central bays transitions into an octagonal drum through the application of corbelled pendentives at the corners. The corbelling occurs in four layers, which increases in width from the bottom up. The layers are further embellished with curved niches set into rectangular frames, which also increase in number, the lowest corbel having one and the last corbel having five such niches. The last layers of the pendentives form alternate edges of the octagonal drum; the remaining edges being formed by the extension of the walls and are also provided with similar curved niches. The octagonal drum transitions into a hexadecagon, followed by a thirty-two-sided polygon by the provisions of small struts. Each face of the hexadecagon is provided with shallow niches, while the thirty-two-sided polygon is described by a projecting band of red sandstone, followed by a band of inscriptions finally topped by the hemispherical dome. The dome is finished in plain plaster. The voussoirs of the arches, the pendentives and the tympanum are all covered by intricate stucco Arabic inscriptions. The central dome is relatively higher that the other two domes.
The northern and southern walls of the mosque are punctured by ogee arch doorways below the springline of the main arch. Each opening leads to a projecting balcony, comprising of red sandstone posts supporting a tiered roof. The balconies protrude out from the faade and are supported on red sandstone brackets, whose profiles and carvings are characteristic of Hindu architecture. An elaborately carved arched niche is provided above each opening on the interior wall. It is set into a rectangular frame embossed with Arabic text.
The plasterwork on the external northern and southern walls of the mosque has fallen off, exposing the stone masonry, while that on the western wall has survived. The central bay of the western wall projects out and is marked by two solid towers at the corners. These towers are divided vertically into four layers; the first two layers from the bottom are orthogonal, while the third layer has alternating curved and angular fluting; the top layer, extending over the parapet of the mosque, has a circular section. The corners of the mosque are marked by similar tapering towers, which are divided into four layers. Each layer is circular in plan except the third layer, which is described by alternating curved and angular fluting. All the towers have the remains of finials at their apex. The central projecting wall has four red sandstone brackets in its upper third portion, which may have supported a projecting balcony similar to those on the north and south elevations.
The plasterwork on the walls of the plinth is now gone, exposing the rubble masonry construction below. The western face of the plinth is punctured by five ogee arch openings set into rectangular frames, one in the center and two each on the sides. These openings provide access to the basement within the plinth.
The roof has three domes corresponding to the three central bays of the prayer hall and the three central arches on the eastern elevation. The extrados of the domes are finished in plaster. The octagonal drums supporting the domes protrude out over the roof level, above which the circular bases of the domes are decorated with blind crestings having floral motifs. The central dome is marginally larger than the adjacent domes and all three have the remains of lotus finials at their apex.
Bara Gumbad:
Square in plan, the Bara Gumbad measures approx. 20 meters per side. Set on a plinth 3 meters high, it joins the common plinth on the north and projects beyond it to the south. Its plinth is decorated on the east, south, and west with ogee arch openings set into rectangular frames. These provide access to a basement.The walls of the Bara Gumbad are approx. 12 meters tall, above which a hemispherical dome on a hexadecagonal drum extends another 14 meters from the roof level, for a total building height of 29 meters above ground level.
Each of its elevations is nearly identical and divided into 2 horizontal sections. A projecting portal composed of an ogee arch set in a rectangular frame (approx. 8 meters wide), is centered in each elevation and rises approximately 75 cm above the parapet line of the building. The 1.5 meter wide frame is made of dressed gray granite. Each vertical pier of the frame has six shallow red sandstone niches arranged atop one another at varying heights; nine niches continue in a line along the horizontal portion of the frame. The portal is described by two receding planes of grey granite ogee arches; the spandrels are cased with black granite with a thin projecting edge of red sandstone. Two round plaster medallions adorn the spandrels. The lower layer of the portal has a central doorway, spanned by two red sandstone brackets that form a trabeated arch supporting a black granite lintel. These brackets are supported on grey granite posts. An intricately carved red sandstone frame adorns the brackets and the lintel; it starts at the springing point of the arch and frames the lintel of the doorway. The entire composition is set in a rectangular yellow sandstone frame. An ogee arch window has been provided above the trabeated entrance. The portal is crowned by the arched crenellations of the blind parapet. Solid turrets mark the projecting corners of the portal.
The remainder of the elevation, that flanking the central portal on either side and recessed behind it, is divided vertically into two equivalent parts by projecting horizontal bands of stone. Each part is described by two equal arched panels set into rectangular frames. Both the panels of the upper part on either side of the portal are blind and filled with granite masonry. The lower panels located adjacent to the portal are windows, while the lower panels at the edges are filled in. The parapet, like the portal, is decorated with arched crenellations, and the roof has solid turrets at each corner.
A single hemispherical dome surmounted on a sixteen-sided drum crowns the building. Each face of the drum is described by an ogee arched niche set in a rectangular frame. The voussoirs of the arches are gray granite, while the spandrels are clad with red sandstone. The top edge of the drum is decorated with a band of arched crenellations, similar to those on the roof parapets, running above a projecting band of stone that surrounds the drum. Below this projection is band of leaves carved in relief. The extrados of the dome are finished in smooth plaster. The lotus base, possibly for a vanished calyx finial, is still extant.
The structure can be entered either from the raised courtyard via the north elevation or from a double flight of steps located on the western elevation. Inside, the square building measures about seven meters per side. An 80 cm high, 45 cm wide solid seat runs continuously along the interior perimeter of the building. Light streams in from all four walls, which are punctured by the openings of the doorway at the ground level and the ogee arch window above. The interior surfaces of the Gumbad are unornamented and finished in dressed granite. The square plan of the room transitions into an octagon via squinches, which then support the thirty-two-sided drum and the dome. The apex of the dome has two bands of floral inscriptions; otherwise, the dome is finished in plaster. The absence of historical inscriptions has contributed to the confusion over the original purpose of the Bara Gumbad.
Mehman Khana:
The third structure in the group is rectangular in plan, measuring about 27 meters (north-south) by 7 seven meters (east-west). Located along the eastern edge of the common plinth, it faces the mosque and is connected to the Bara Gumbad by a masonry wall along its northern face. The structure is believed to have either been a mehman khana, (guesthouse) or a majlis khana (assembly hall).
The building is accessed from the common plinth through its western wall, which is divided into five bays, mirroring the eastern elevation of the mosque opposite it. The three central bays are considerably larger and have ogee arch doorways, giving access to the interior, while windows puncture the smaller end bays. The arches are set in rectangular frames, which are recessed from the face of the elevation. Each opening is composed of two recessed planes of arches. The spandrels are clad in red sandstone, contrasting with the gray granite of the elevation, and are decorated with round plaster medallions with lotus motifs. The window openings have an additional tie beam or lintel at the springline. The tympanum of the window towards the south has been filled with stone, while that of the window towards the north has been left open. A continuous chajja, supported on equidistant stone brackets, projects from the western wall above the rectangular frame. The cornice is unornamented and is topped by the projecting horizontal band of the parapet, which reaches a height of approximately five meters from the top of the raised plinth. The roof of the structure is flat. The exterior of the building lacks decoration and is finished in dressed granite.
The interior is divided into seven chambers occurring from north to south; the central chamber is the largest, measuring about 5 meters (north-south) long. It is abutted by relatively narrow chambers (approx. 2.5 meters long). The outside chambers which flank the 2.5 meter wide chambers on either side are approximately the size of the central chamber, and correspond to the arched openings in the western wall. The chambers are separated from each other by gray granite walls, punctured by simple ogee arched doorways set in rectangular frames. Square in plan, the outer rooms are separated from the adjacent chambers by stone walls with rectangular door openings with blind ogee arches and rectangular frames. Each doorway has shallow rectangular recesses on either side, as well as a small arched window set into a rectangular recess and a stone jali screen set above the doorway within the tympanum of the main arch. The eastern wall of the building has blind ogee arches, occurring as two successive planes, reflecting the arched openings of the western elevation.
The roof of the central chamber is flat and supported on arches located on four sides; flat stone brackets appear at the corners. The two adjacent rooms are covered by shallow domes supported on squinches. The interior domes are finished in plaster with carved concave fluting. The exterior of the domes has been filled to blend with the flat roof of the central room.
Certain stylistic continuities are recognizable in the three buildings; each was constructed with (local) gray granite and lime mortar. However, the degree and type of embellishment, both interior and exterior, on the mosque differs substantially from that found on the other two, relatively unadorned, buildings.
Apart from the grouping of the three structures and their stylistic similarities, the buildings do not appear to have been planned as a complex. The Friday mosque is the first example of the panchmukhi building type, where "panch" (five) and "mukhi " (facade) characterize a five-bay prayer hall. This approach was influential in both the Lodi and the Mughal periods. The Bara Gumbad is significant for having the first complete hemispherical dome in Delhi.
The differences in the surface ornament of the buildings suggest that the buildings were constructed at different times, with the Bara Gumbad and the guesthouse being similar in style and decoration, without the multilayered arches of the Friday mosque. The function of the Bara Gumbad is still unknown; its geometry and form aligns with the predominant tomb architecture of the period (like the neighboring Shish Gumbad). However, there is no grave or cenotaph in the building, and rather than being blank, its qibla wall (like its other walls) is punctured by an entrance. While the continuous stone bench in the interior is also found in gateway architecture, (as in the Alai Darwaza at the Quwat-ul-Islam Mosque in Mehrauli), the size of the Bara Gumbad vis-a-vis the Friday mosque does not support this conjecture. Some scholars surmise that the structure might have been a gateway to the larger complex of tombs within the Lodi Gardens.
Lodi Dynasty
-----------------
The Lodi dynasty in India arose around 1451 after the Sayyid dynasty. The Lodhi Empire was established by the Ghizlai tribe of the Afghans. They formed the last phase of the Delhi Sultanate. There were three main rulers in the history of Lodi dynasty. All three of them have been discussed in detail in the following lines. So read on about the Lodi dynasty history.
Buhlul Khan Lodi
Buhlul Khan Lodi (1451-1489) was the founder of the Lodi dynasty in India and the first Afghan ruler of Delhi. He was an Afghan noble who was a very brave soldier. Buhlul Khan seized the throne without much resistance from the then ruler, Alam Shah. His territory was spread across Jaunpur, Gwalior and northern Uttar Pradesh. During his reign in 1486, he appointed his eldest son Barbak Shah as the Viceroy of Jaunpur. Though he was an able ruler, he really couldn't decide as to which son of his should succeed him as the heir to the throne.
Sikandar Lodi
After the death of Buhlul Khan, his second son succeeded him as the king. He was given the title of Sultan Sikander Shah. He was a dedicated ruler and made all efforts to expand his territories and strengthen his empire. His empire extended from Punjab to Bihar and he also signed a treaty with the ruler of Bengal, Alauddin Hussain Shah. He was the one who founded a new town where the modern day Agra stands. He was known to be a kind and generous ruler who cared for his subjects.
Ibrahim Lodhi
Ibrahim Lodhi was the son of Sikander who succeeded him after his death. Due to the demands of the nobles, his younger brother Jalal Khan was given a small share of the kingdom and was crowned the ruler of Jaunpur. However, Ibrahim's men assassinated him soon and the kingdom came back to Ibrahim Lodhi. Ibrahim was known to be a very stern ruler and was not liked much by his subjects. In order to take revenge of the insults done by Ibrahim, the governor of Lahore Daulat Khan Lodhi asked the ruler of Kabul, Babur to invade his kingdom. Ibrahim Lodhi was thus killed in a battle with Babur who was the founder of the Mughal dynasty in India. With the death of Ibrahim Lodhi, the Lodhi dynasty also came to an end.
Speakeasy Bloggers Application Is Now Open!
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Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
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Prim
Another point of view at the koi pond in the Tyler Rose Garden..
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Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
LIGHT
Three speedlites: 1st in a brollybox (as main), 2nd and 3rd as kickers from left background and right background (one with a fstopperrs flashdisc, one with a piece of paper as some sort of Rogue Flashbender or bouncecard or so)
EXIF
5d3, with 70-200 f/2.8 at f/5.6, 100 mm, 1/125 sec, ISO 100. Raw.
TRICKS
I had no boom arm available, so I mounted a lightweight lightstand on a sturdy one, using a Manfrotto Superclamp. Worked really well :-)
{}30 years ago{}
Outside her house, I woman sits on the porch talking to her mother.
"Mom, please, I'm fine."
Suddenly a blast of light shines through the night sky. The light zooms straight to the ground a hundred yards off from the woman's house. The woman looks up and sees a weird metal object burning in bright flames where the light landed.
"What the..."
"Honey, what's wrong?"
"Nothing, I gotta go."
The woman hangs up the phone and runs inside her house. She grabs a shotgun from underneath her bed. After checking to see if there was any ammunition in the gun, the woman ran outside. Carefully, she approached the foreign object. Suddenly a human-like arm emerges from what seems to be the cockpit of an alien ship. The woman walks slower as the figure climbs out and slides down the front of the ship.
"Who... what are you?"
The figure grabs his gun and quickly jumps to his feet with his gun aimed at the woman.
"Hey, I'm not gonna hurt you if you don't hurt me. What's your name?"
"J'son."
"Jason? Where are you from?"
"Water... I need water."
The man collapses to the ground and the woman runs to him.
"Come on, why'd you have to pass out so far from my house?"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
{}18 years ago{}
A twelve year old boy enters his house. He walks into the living room and calls for his mom. No answer. He then walks to the kitchen and calls again. Once again no answer.
"Where could she be?"
From upstairs came a scream. Though the kid never heard his mother's scream, he knew instantly that it was in fact hers.
"MOM!"
The kid ran upstairs and to his mom's room. He was met by the sight of two alien figures. Luckily they were facing away from him so he was able to sneak into his room unnoticed. The two aliens turned away from his mother's room and walked down stairs.
"Where's the kid?"
"I heard him yelling just a second ago."
The kid quietly walked out of his room as the two aliens finally got all the way downstairs. He made his way to his mom's room. The door was open just enough for him to see his mom lying on the ground. He quietly ran to see why she was on the ground.
"Mom?"
His mom did not answer. Instead when the boy walked into the room she still laid motionless. The boy looked on the floor and noticed red seeping from his mother's chest.
"MOM!"
Not realizing what he just did the boy ran to his mother and tried to wake her up. The two aliens began making their way back upstairs. The boy heard this and sneaked underneath his mother's bed. The aliens ran into the room and began searching for the boy. The boy bumped against his mother's shotgun.
"I really don't want to use this."
The boy grabbed the gun and rolled out from under the bed. He got up and ran out of the room making sure he slammed the door shut behind him. the kid ran down half the stairs and jumped the bottom half. Shortly after the aliens fumbled their way down the flight of stairs. The boy was able to make it outside the house and about fifteen feet away from the porch by the time the aliens emerged from the doorway.
"Get back here!"
The alien that yelled this pulled out his gun and shot a laser towards the kid. Luckily the blast missed the boy.
"Stop running!"
The other alien demands as he shoots a blast from his gun. Again the shot misses the boy. The boy turns to the pursuers and aims the gun at the two of them. The aliens raise their pistols at the boy in return.
"Eat lead alien scum!"
The boy cocks the gun and shoots a shotgun shell right into the aliens. Both go down with a single shot. The boy, revolted by the guts now splattered on the ground, pukes into a nearby bush.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"That's my origin story. I'm the boy. You can call my Peter Quill, but I prefer Star-Lord"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
So, a little update. I'm dropping Constantine mainly because I lost interest... again...
So here's my Star-Lord application.
Nice Looking Flowers,with a few droplets of water on them..... polyanthus [ˌpɒlɪˈænθəs]
n pl -thuses
1. (Life Sciences & Allied Applications / Plants) any of several hybrid garden primroses, esp Primula polyantha, which has brightly coloured flowers
(Life Sciences & Allied Applications / Plants)
polyanthus narcissus a Eurasian amaryllidaceous plant, Narcissus tazetta, having clusters of small yellow or white fragrant flowers
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Looking for some bloggers. Application @ mainstore or contact me directly inworld @themescudi . Notecards only please. IMS get lost. Click bloggers needed sign inworld for the notecard. Fill out & drop back into my box.
Flickr, wordpress, tumblr, & or blogspot will be necessary.
Inworld Location:
Arriving into Sheffield with a 43 comes Chesterfield Scania 15688, wearing a surprisingly shiny application of Beachball livery. It also displays the WiFi Bus logo, which is something of a blast from the past – back when I was here in December 2016 most of the Scanias had large WiFi vinyls at the lower rear.
YN60 ACX
Pond Street, Sheffield, 31.5.24
(Don't bother with audio - it's ambient sounds of people walking by.)
I had the pleasure of watching this spider construct her web in the company of jciv and his dad when they visited Virginia earlier this month. We enjoyed a slow amble through the woods and into the wetlands of this park, with a particular eye out for spiders, so finding this bright lady was a treat. I stopped recording after 25 seconds because a couple people stopped to ask about the spider, but I got enough to see how the spider takes the currently extruded web strand and very purposefully sticks it to the "spokes" with a foot.
Happy Arachtober 30 pt 2!
Marbled Orbweaver, Araneus marmoreus
Huntley Meadows Park, Alexandria, VA
Date: 24th August, 2019
Time: 4 to 10 PM SLT
Who can participate: Open to all club members, bike designers and custom builders of bikes.
Prizes: Custom built bike from CG Productions, cash prizes and much more for Winners.
Grab the application at the following landmark. Fill and send it to sirencliodhna.
Your ride: maps.secondlife.com/secondlife/Soul%20Siren/104/195/21
Oneword designer applications are now open! We'll be accepting new stores now through mid February. Please check the blog post for more info.
Blogger applications will be opening later next month so look out for those as well! <3
onewordsl.blogspot.com/2016/01/designer-applications-now-...