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LA TRAHISON DES IMAGES
Une cage de verre au cœur de la cité. À l’intérieur, un tableau vivant change chaque jour. Des scènes déconcertantes qui gênent les uns, intriguent les autres, ne laissent personne indifférent. L’artiste néerlandais Dries Verhoeven conçoit des images déstabilisantes, potentiellement explosives, et bouscule sans détour nos tabous. 10 jours, 10 événements, 10 douches froides.
Ceci n’est pas... expose en vitrine des personnes dans des situations qui ne répondent pas aux critères de perfection et de réussite assénés par la propagande commerciale. En cette ère de frilosité visuelle où le passant est submergé de clichés publicitaires rassurants pour les consommateurs frénétiques que nous sommes, cette boîte à surprises subversive s’insinue au centre de la ville, ébranle nos certitudes bien-pensantes, chambarde notre train-train quotidien. Interloqué, voire choqué, on se positionne, on argumente, on réfléchit. L’espace public, subitement théâtre de la défectuosité et du trouble, devient lieu de parole et d’échange. Ceci n’est pas une pause publicitaire.
I promise I'll be good and go destroy someone else's lawn...
Have a great Thursday everyone!
Free stuff on the blog today :)
"None are so hopelessly enslaved as those who falsely believe they are free." - Goethe
It is a huge belief of mine that none of us are free. Its also something that I wish I didn't believe. Its like the snooker-ball example - if you position the cue at a certain angle and input a certain amount of power, the white ball will move a certain distance, in a certain direction, and depending on the circumstances will cause a certain effect, that can be predicted, given that you knew all the circumstances (the positions of the other balls, for example). It's possible to predict with 100% accuracy the outcome of the shot.
The same thing can be applied to life, just in a really really really complex way. Because of every single circumstance in the world, everything that is going to happen is mapped out and ready to happen, right down to the millisecond. And we can't change it or argue with it because thats down to circumstance, too. You might want to leave a comment with an opposing argument - but BAM, you don't have a choice in that because thats the kind of person you are because of a whole other load of circumstances. You weren't free to choose. We are not free. Some like to call it fate. We are all fishies in the tank, not free to be able to choose to get out or not. And if we do get out, thats not our choice either, because thats just the kind of fish we were destined to be.
Mind vomit!
“I existed long before you knew me, I’ve always been someone.” Those words have haunted me since they floated through my brain at the age of 15, as an argument against those who thought they knew me enough to judge me. To this day I still know with an absolute sense, what those words meant to me. This piece is about those words, those syllables, about their meaning, about breaking them down to create something stronger, something beyond the scope of others. I burnt my words because it was time for a change; it was time to burn the shackles and rise again, to rise above, the judgments of other people. I’ve spent far too long thinking that I needed the validation of smaller insignificant people to truly exist, but that part of me is over. I burnt my words because they are a show of weakness; they are a cry for acceptance, and I see now that they are pointless. I am not the type of girl who will every be accepted, I’m too strong for that. I have risen from the ashes of myself; my words, and in time will find new syllables to describe the anthem of my heart and the creeds within my head."
Persuasive Arguments.
Battez les otages du vocabulaire acculés à des contraintes contournées expressions diverses diverses caravanes en lambeaux,
urlando borbottii che rotolano mecenati confinanti confessioni che confessano formidabili bugie tirando guerre,
قوى غير كفؤية تبخير ألسنة تكتشف تناقضات الأطفال المرهقين الحمى الهذيان ردود الفعل اللاواعية,
escándalos que contemplen el paraíso momentos intensos alturas emocionales florecientes placeres,
yn saethu syniadau gweithio ffyrnig geiriau anarferol yn amlygu rheolau difyr dros orfodi deddfau yn prysur ystumiau elw drwg,
trioblóideacha oibleagáidí airgead tubaisteach briseadh brónach scéalta gan deireadh,
шударга бус байдлаас хамааралтай таамаглалыг зээлдүүлэхэд хүндрэлтэй асуудлууд нутаг дэвсгэрийг гүвүүлдэг хэлээр хутгалддаг,
虚弱な精神厳格なレッスン原始的な兄弟不安定な性質歪められた値を犯して誤りを犯す悪魔のくびれ.
Steve.D.Hammond.
He stood on the edge of the world, a lone figure suspended between sky and stone. Before him sprawled New Zealand's Southern Alps, their peaks — Poseidon, Sarpedon, Amphion — rising like silent arguments carved from light and ice. The glacier unfurled its pale tongue, an ancient current arrested mid-sentence, its surface rippled with the memory of motion. The air shimmered, crystalline and unrepentant, a cold clarity that cut to the marrow.
Lake Agnes lay below, a still pool, dark and sharp as polished obsidian. It absorbed the landscape without a ripple, the reflection a perfect inversion—mountains upside down, the sky swallowed by earth. The scene was a paradox: immensity caught in a whisper, time paused on the brink of collapse. He felt the grass brittle beneath his boots, the wind threading through the crevices of his jacket—a touch neither warm nor cruel, merely indifferent.
For three days he had wrestled through the entrails of the land. The rainforest had closed around him with a suffocating lushness, roots coiling like serpents beneath the moss. Streams foamed with a glacial bite, the waters quick and thoughtless, bruising his ankles as he waded through. Thorned thickets tore at his skin with the intimacy of old grudges. He climbed slopes slick with rain, his body folded into painful angles, the horizon always receding. When he reached this place, the fog had been thick enough to erase the contours of the world. His tent had trembled in the night winds, the cold seeping in like an unwelcome thought.
But then dawn came, unburdened and lucid. The veil lifted, and the mountains revealed themselves in their raw articulation. They did not posture or proclaim—they simply were, immutable and unscripted. The glacier’s silence was more profound than any roar; the peaks did not loom so much as exist beyond scale.
Here, in this distilled emptiness, the trivial machinery of the world he had fled seemed absurd. The restless striving, the ceaseless revolutions of ambition and vanity—all of it shrank to the size of a pebble lost in a chasm. There was no wheel here to turn, no circuit to complete. Only the landscape, bare and relentless in its honesty.
He filled his lungs, the air sharp enough to taste. It was an act of quiet rebellion, this deliberate witnessing. In that breath, he found not freedom, but a dissolution of need. The lines between man and mountain wavered, softened by the sheer scale of indifference. If he stayed long enough, perhaps he too would become part of this tableau—his form dissolving into lichen and shadow, his presence no more than a pause in the wilderness’s endless thought.
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To explore more of these captured moments and woven words, visit the artist and writer at their sanctuary of creation: www.coronaviking.com
I watched this scene for five or ten minutes, but from the other side of Broadway where my view was somewhat limited. There were one or two moments where I could see the blond woman's face, and that should have been the "decisive moment" when I took a photograph of the scene. But for reasons that I can't explain or even articulate now, I did not take the photo at that point ...
And now, days later, it makes me wonder: how many times do (does?) each of us see a "decisive moment" out on the street -- or at work, or in our home, or anywhere else -- that we don't even recognize as such until later on, when we replay that scene in our minds? Consequently, how many such moments are lost forever, at least in terms of being able to share it with others? Mediocre as this photo is, I suppose it's better than nothing; without it, it would have been something that only I, alone, saw and experienced; and like all memories, it would have faded over time.
In today's world of "free" digital images, I suppose it's a good argument for photographing almost everything you see in your day-to-day life, if it has any chance at all of being such a decisive moment. If the moments turn out to be boring or blasé, you can always delete the digital images, and it will have cost nothing ...
Of course, to do something like that, you have to have a camera with you; but while I've been celebrating (in this Flickr album of iPhone6s photos) the fact that an iPhone-camera is better than no camera at all, it is an embarrassing reminder to me that I should have had a better camera with me, and I should have been ready to use it at a moment's notice, even if a particular scene like this one is an unexpected surprise. I've just come back from a photography workshop (about which I'll blog or write separately at some other time and place) in which we were reminded that we should be pleased if we managed to make one really good photo in a month ... and maybe this could have been that one photo for me. Or maybe not. But (a) I won't know unless I actually take the shot, and (b) in order to take that one fantastic photo each month, I have to be willing to carry a camera bag for the other 29 or 30 days of the month even if I never see any great shots to take. C'est la vie.
A couple of other minor points about this photo: I first noticed the old woman about an hour earlier, when I was walking from my apartment to lunch at the Earth Cafe (scenes of which you can see in this Flickr album), and while I "registered" the scene in my mind, I didn't stop to think about it, or consider taking any photos of it.
I didn't really pay any attention to the scene until a little later in the afternoon, when I noticed the woman with long blond hair bent over and talking to the elderly woman, and occasionally reaching out to stroke her face. At first, I thought the blond woman was someone I know, and the juxtaposition of the two startled me ... and then I saw the little boots, which I realized "my" blonde friend probably would not be wearing. Even so ... what I should have done is walk over to the two women, introduce myself, and try to find out what was going on. I'm convinced that something extraordinary was going on, simple and innocent as it may have been, as indeed it probably was. But I don't really even know what was happening...
... because I was on the wrong side of the street, with nothing but my puny little camera-phone. I guess I should be content with the fact that at least I got something, even if it was only a mediocre snapshot of a moment in life.
But I deserve, you deserve, and we all deserve, better than just "snapshots." So I've renewed my determination to always have my camera bag with me, with at least two cameras in addition to the iPhone6s+ that's always in my pocket. With today's technology, even the "advanced" cameras are so compact and light-weight that there is no excuse for someone like me to do otherwise.
In any case, the moment is now past: there is nothing more I can do about it at this point, other than trying to be better prepared for the future ...
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Sometime in 2014, I created Flickr album for photos that I had started taking with my iPhone5s; and a year later, in the fall of 2014, I started a new Flickr album for photos that I’ve begun taking with my iPhone6, and iPhone6+. But progress doesn’t stop (at least with Apple): as of October 2015, I’ve upgraded once again, to the iPhone6s and 6s+ (yes, both of them) and this new album contains photos created with those camera-phones
In last year’s Flickr album, I wrote, “Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
“After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
“But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
“Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
“And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
“With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
“Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
“I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.”
***********************************
Okay, so now it’s October of 2015, and I’ve got the iPhone 6s/6s+. The the camera now has a 12-megapixel lens (instead of the older 8 MP version), and that the internal camera-related hardware/firmware/software is better, too. Obviously, I’ve got the newer iOS9, too, and even on the “old” phones, it now supports time-lapse videos along with everything else.
I’ve still got my pocket camera (an amazing little Sony RX-100 Mark IV, which replaces the Mark III I had last year), and two larger cameras (Sony RX-10 II, and Sony A7 II), but I have a feeling that I won’t even be taking them out of the camera bag when I’m out on the street for ordinary day-to-day walking around.
That will depend, obviously, on what kind of photos and videos the iPhone6s/6s+ camera actually capable of taking … so I’m going to try to use at leas one of them every day, and see what the results look like …
Like I said last year, “stay tuned…”
Next building past the Scaffolding is Downe House, bought by Mick Jagger after he married Jerry Hall back in the early 1990's
Arguments still continue over the ownership
Richmond Hill, Richmond, Greater London. UK.
They could be monoliths, or they could be books, or laptops. I don't know. But they're the stars of the tie. The way the fabric folds gives it the optical illusion of the slabs being 3D and floating in front of the knot, with a parallax toward the back.
I've had this Arrow tie from before 2001. The label says it's 100% silk printed in Italy, but made in the USA. The colors are yellow and dark blue, so don't get into any white/gold/blue/black arguments.
To prove the superiority of Christianity, they paired heathens and Christians. So opposite Julius Caesar's "veni, vidi, vici" they quoted Charles V "veni, vidi, deus vicit" ("I came, saw, and god won").
Obviously, whenever Christians used brute force to convince heathens, they had the better arguments. Ever since enlightenment, humanism and science have won the debates.
- Blaise Pascal.
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One complaint my wife often voices about my photography is my hatred towards adding any man-made elements in my photographs. I know that I sometimes photograph city skylines and bridges, but I often go to painstaking lengths to avoid humans and man-made elements in my landscape shots. My wife’s argument is that it provides a new dimension to my landscape photography. I think I am slowly warming up to the idea.
Fort Rock in central Oregon is the location of this photo. We spend a marvelous evening at this lonely state park. We were the only visitors on that day and had a great time running around exploring the stunning rock formations in the middle of a flat desert. As I was walking back to the car, I noticed the beautiful light on the horizon and the light bouncing off our car. I decided to take some shots of our unsung chariot. I took quite a few images, and this one was one of my favorites.
Captain Solo and the Doctor's discussion in the Ammo Arms had grown extremely loud, so much so that they had begun to draw a crowd...
"It may be an extensively modified Corellian light freighter, Captain Solo, and the Millennium Falcon may well be a legend in smuggler circles, and it may well be coveted by many for being the fastest hunk of junk in the galaxy, but there is no way your Falcon could beat my Tardis in a race!" stated the Doctor.
"It's the ship that made the Kessel Run in less than twelve parsecs. I've outrun Imperial starships. Not the local bulk cruisers, mind you, I'm talking about the big Corellian ships now! She can outrun your police box easily, old man!" replied Han, getting more heated by the second!
However, no one seems to have noticed the future visitor listening to their argument...
There were very few things Alrune, Mage-Governor of Embervale, loved more than the quiet solitude of her study at dawn. The rest of the castle was, at this hour, caught up in the intricate choreography of the staff’s breakfast preparations - a swirling ballet of clattering pans and arguments about eggs.
In less than an hour, her uncle would interrupt her blissful silence, armed with the kind of unwavering politeness that would somehow make refusing breakfast feel like declaring war on her own kitchen staff. And shortly after, the village bell would ring, summoning her to listen to the endless stream of complaints, questions, and deeply inventive interpretations of Imperial Laws presented by the good people of Embervale.
But for now, it was just her, her cats, and the soothing dripping of a gelatinous cube becoming ectoplasmic distillate.
--
This is my entry for Brickscalibur's "Capturing Character" category.
Bonus quiz: how many cats does Alrune have?
Best to: View Large and On Black
these two orchids look kind of being in an argument and not so happy with one another :)
I am a purple armadillo riding a red velociraptor, lugging through my survival gear through the post-apocalypse.
Your argument is invalid.
Armadillo Avatar by me (Wilds of Organica)
Velociraptor by Kalia Firelyte/JianSL (Jian)
Vagabond Hat and BNB pack by Pucca Firecaster (PFC)
(all available March 2016 at The Arcade)
Shot on site at The Wastelands.
Currently, here, it is 3 degrees F. with a wind chill of -13 degrees F.
This image is Copyright Protected and may not be used for any reason without written permission.
©D.Tranovich - All Rights Reserved
O Senado aprovou (03/06) o projeto que regulamenta a profissão de motorista. O PLC 41/2014 que altera a Lei 12.619/2012 já havia sido aprovado pela Câmara dos Deputados. A proposta ganhou grande repercussão, principalmente, diante das inúmeras manifestações de apoio por parte das entidades representativas.
O projeto foi votado com rapidez graças à aprovação de pedido de urgência apresentado no dia 21/05 pelo senador Zeze Perrella (PDT-MG), que também acompanhou a tramitação da proposta no Senado e trabalhou pela realização de acordo partidário para a aprovação imediata do projeto.
Durante o processo de votação o senador Perrella afirmou que os partidos já haviam concordado anteriormente com a aprovação, que teria de acontecer naquele mesmo dia, sem adiamento, o que fato aconteceu.
As galerias acima do plenário estavam repletas de representantes e entidades dos motoristas, que aplaudiram.
O texto flexibiliza o descanso obrigatório dos motoristas profissionais entre um dia e outro. Pela Lei em vigor, o intervalo poderia ser fracionado em 9 horas interruptas mais 2 horas. Já pela nova proposta o fracionamento passa a ser de 8 horas ininterruptas mais 3 horas, ambos totalizando 11 horas.
Em relação ao tempo máximo de direção contínua, sem intervalos, o projeto final ficou como no texto enviado pela Câmara: dentro de cada seis horas no volante, o motorista deverá descansar 30 minutos. No entanto, esse tempo poderá ser fracionado, assim como o de direção, desde que o tempo dirigindo seja limitado ao máximo de 5,5 horas contínuas. Atualmente, o tempo máximo de direção é de 4 horas contínuas.
Já a jornada máxima de trabalho, que pelo projeto original poderia chegar a 12 horas, foi mantida em 10 horas, após acordo entre os senadores. Pelo texto aprovado, a jornada diária do motorista profissional empregado continua a ser de oito horas, com possibilidade de duas horas extras, totalizando o máximo de dez horas. O texto da Câmara permitia a extensão das horas extras, se decidido em convenção ou acordo coletivo, o que poderia levar a jornada a 12 horas.
O relator da proposta, senador Romero Jucá (PMDB-RR), disse que o texto da Câmara já representava um avanço em relação à legislação atual e avaliou que as mudanças feitas no Senado garantiam novas melhoras, como a manutenção da jornada diária em oito horas mais duras horas extras e alterações em outros procedimentos.
"Esse projeto amplia o seguro para os motoristas. Cria procedimentos necessários para o teste toxicológico para habilitação e renovação da carteira, que é importante. Estabelece tratamento para aqueles motoristas dependentes, além de muitos outros avanços", argumentou o relator.
Pela proposta aprovada todos os motoristas profissionais nas categorias C, D e E deverão realizar exames toxicológicos para habilitação e renovação, com uma janela de detecção de 90 dias. O exame proposto permite verificar todo o histórico de consumo de substancias psicoativas durante este período. Ainda pelo texto aprovado na Câmara, os motoristas empregados serão submetidos a exames para admissão e no desligamento.
O senador Zeze Perrella comentou que o projeto atende ás necessidades básicas e os interesses dos motoristas em todos os setores, e representa um avanço em relação às leis atuais, contribuindo assim para o fortalecimento do setor de transporte e dos motoristas que nele trabalham. O senador mineiro acompanhou todas etapas do processo de votação.
Outros senadores, como Lídice da Mata (PSB-BA) e Paulo Paim (PT-RS), ressaltaram que, como o projeto retorna para a Câmara dos Deputados, ainda poderá ser aperfeiçoado.
O relator resolveu suprimir do texto isenções de pedágio previstas no texto da Câmara. Para ele, o benefício concedido geraria mudanças em contratos e seria revertido em cobrança extra para os demais motoristas.
"Pedágio que não se cobra de alguém vai se cobrar dobrado de outro alguém, que, no caso, seriam os veículos de passageiros, que teriam que pagar mais caro. O contrato de concessão que determina um resultado financeiro, então, é melhor não mexer", disse Jucá.
"Esse é um projeto importante para o setor dos transportes e a classe dos motoristas, especialmente diante de uma realidade como a brasileira, em que cerca de 70% de todas as mercadorias que circulam no país é feita através do transporte rodoviário", comentou Perrella.
Agencia senado com assessoria de imprensa
a trial is a long, dark corridor of words.
objections, motions, conflicting testimonies.
but at the end, all that matters is the closing argument.
a final, clear presentation of the facts.
a single, illuminated path to the truth.
the case is made. the evidence is clear.
the jury needs no further convincing.
she walks away, and the verdict is already known.
Two Hippopotamus (Hippopotamus amphibius) having an argument in a Mikumi National Park pool Image taken in Tanzania.
adoratorio a Ehécatl en la estación Pino Suárez, situado en la correspondencia de las líneas 1 y 2, es llamada la zona arqueológica más pequeña de México por el INAH y es indirectamente transitada por hasta 54 millones de personas al año.[2] Sus dimensiones son de apenas 88 metros cuadrados, y está localizado en el transbordo entre las primeras dos líneas del sistema. Es posible observar una serie de cuatro estructuras superpuestas, correspondientes a diferentes épócas.[3] La inferior (llamada L4 por el INAH) corresponde al siglo XV, y la parte superior denominada L, es de tipo cilíndrica, con una cenefa de elementos globulares y una escalera al centro del adoratorio.[3] Doris Heyden la atribuyó como un adoratorio a Omácatl, nombre calendárico de Tezcatlipoca. La investigadora reforzó el argumento con el glifo calendárico que posee el monumento, que es dos caña o literalmenteome acátl.[3]
I built a log cabin bird house: two bedroom, galley kitchen, small bathroom affair. These two looked over the property, the male was not as keen as the female but as soon as the female went inside and stayed in for a good 5 minutes the male knew arguments would be wasted so he demurred and after a couple of buzz-arounds the neighborhood looked upscale enough to raise a family, they went to task of supplying furniture starting with the bed.
I spent a couple of hours photographing them from my balcony with camera hidden from sight and on silent shutter. It amazed me the tandem effort they applied in getting the job done. Most of the time they were both out getting supplies and one would wait for the other on the small perch (porch) i had built with the next load while the other dropped their load in the cabin. Other times there were assists like this one posted.
Here's the funny part of the story - This was the second round of tenants. The first couple had no coordination - the female did nothing but watch the male. The male had an IQ of 5. His first load was one branch about 4 inches long and 1/4 inch in diameter. The equivalent of trying to get a 2x4 through your front door. He flew directly at the hole and stopped short of hitting it. Turned his load sideways but since he was holding it in the middle could not get the end in the hole. After several attempts he flew about a foot away from the bird house then accelerated full steam towards the opening hoping the 2x4 would bend - there he hung suspended flapping gallantly against the hole with the 2x4 clutched in his beak crushed against the hole he kept the push up for about 10 seconds then dropped the board and flew away never to be seen again.
The wife i think in the meantime had left him for some other male bird seeing the evidence of how stupid her first husband-pick was - and that her parents were right - she could do a lot better.
Happy to report the new tenants were up to the challenge and simply adore the place. More shots of our two house sparrows to come.
I meant to include this one in my blog post on Boyce Thompson Arboretum, but I ran out of space for pretty pictures. Probably a good argument for the place.
The Smiths - There is a light that never goes out
es.youtube.com/watch?v=INgXzChwipY
PreSortidazZ PostFiestas ...11-1-09
www.flickr.com/groups/sortidazz/
TRIBUTO A 2001 SPACE ODYSSEY
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2001: A Space Odyssey (2001: Odisea del espacio o 2001: Una odisea del espacio) es una de las películas más importantes y famosas del género de ciencia ficción y del cine en general. Se proyectó en 1968 en Estados Unidos. Fue producida y dirigida por Stanley Kubrick. El argumento tiene su germen en un relato corto de Arthur C. Clarke, "The Sentinel", El Centinela, que está en el origen del monolito-vigía en la Luna, idea que se extendería a los otros dos monolitos, el de la Tierra y el que también hace las veces de testigo en el espacio, en las cercanías de Júpiter. En cuanto a la novela homónima de Clarke, se escribió a la vez que se desarrollaba el guión, según cuenta el propio autor en su libro "The Lost Worlds of 2001" (Los mundos perdidos de 2001), en el que describe también diversas anécdotas referentes al desarrollo del guión y de la película. La novela que surgió de la película fue a su vez fue el origen de la saga de novelas de las Odiseas Espaciales.
2001: A Space Odyssey (2001: Space Odyssey and 2001: A Space Odyssey) is one of the most important and popular films of the genre of science fiction and cinema in general. Was screened in 1968 in the United States. Was produced and directed by Stanley Kubrick. The argument has its origin in a short story by Arthur C. Clarke, "The Sentinel," The Sentinel, which is the origin of the monolith-watchtower on the moon, an idea that would extend to the other two monoliths, the Earth and that also doubles as a witness in the area, in the vicinity of Jupiter. As for Clarke's novel of the same name, was written at a time that was developing the script, according to the author in his book "The Lost Worlds of 2001" (The Lost World, 2001), which also describes several anecdotes concerning the development of the script and the film. The novel that emerged from the film was in turn was the origin of the series of novels of the Space
Puffin giving her man a hard time....think he’s contemplating breaking the whole ‘partner for life’ thing 😁
These two got into an argument over fishing rights.
As you can see the darker one has a pretty good sized gash on its hip.
Something like that, would put a human in the hospital.
Bears just seem to shrug it off.
They are amazing animals.
Scanned from an archived slide.
I was shooting 50ASA Velvia.
Please view very large.
Ps - John Shaw told me just to meter off the spruce trees across the river and use the mid tones for my exposure.
That is what I did and it worked great.
John, gave me my first roll of Fuji Velvia.
Before that I was shooting Kodachrome 64ASA
and sometimes Kodachrome 25ASA.