View allAll Photos Tagged articulate
the photo is from two weeks ago, but yesterday i did the same walk with my friend Tyler (visiting after camping out a bit south of here) & tried to articulate some of my thoughts about this landscape... some threads might be coming together
Nine times out of ten I don't get this close to a frog sitting by the bank, especially with a macro lens. I super slowly crouched down in soft mud and got about a foot away. The articulating screen and live view made it easy peasy. Zoom in on his eye and see my reflection.
Castillo, Berlanga de Duero, Soria, Castilla y León, España.
El castillo de Berlanga de Duero se encuentra en la población del mismo nombre, pertenece a la provincia de Soria y fue construido entre los siglos XV, cuando tuvo la función de castillo señorial, y en el XVI cuando se transformó en una fortaleza artillera. Con anterioridad, en los siglos X y XI, hubo una fortaleza musulmana que, en el XII, tras la conquista castellana, se amplió con el cinturón exterior amurallado que se conserva.
Bordeada por el río Escalote y abrazada por el Duero, se corona por la imponente silueta del castillo que la vigila desde el Coborrón. El conjunto monumental está formado por los restos de la fortaleza tardomedieval (siglo XV), la fortaleza artillera de época renacentista (siglo XVI), la muralla que ciñe el cerro en su base (siglo XII) y el Palacio de los Duques de Frías (siglo XVI).
El conjunto se inició entre los años 1460 y 1480 por encargo de D. Luis Tovar y doña María de Guzmán, que ordenaronn levantar el casillo señorial, para servir de fortaleza defensiva y residencia familiar, sobre un castillo anterior situado en lo alto del cerro, donde se localizaba la primitiva villa de Berlanga protegida por la muralla situada a los pies del cerro.
En el año 1512 se proyectó y comenzó a ejecutar el nuevo castillo, configurado como una fortaleza artillera, con fines militares. Esta nueva fortaleza se adaptó tanto a la topografía abrupta del terreno como a la construcción anterior (el castillo medieval señorial).
En el programa constructivo de los linajes Tovar y de los Duques de Frías se encontraba además la erección del palacio en el recinto interior de la muralla del siglo XII, adaptado a los nuevos modos de vida. Este palacio y sus jardines intramuros estructurados en diversos niveles sufrieron, en 1811, un incendio y una destrucción por parte de las tropas napoleónicas, por lo que en la actualidad solo se conserva su fachada principal.
Durante los años 2004-2005 se acometió por parte de la Junta de Castilla y León un Plan Director, un conjunto de planes y actuaciones orientadas a la mejor conservación, protección y revitalización de este rico patrimonio. Se incluyen estudios de investigación, consolidación y restauración de los restos del monumento o actuaciones en el entorno.
El castillo señorial (siglo XV) presenta planta rectangular, en la que destaca el cubo de planta circular, en el ángulo sur, y la torre del homenaje en el lado opuesto. En el interior, dos patios articulan el espacio: uno, a la entrada, más sencillo, funcionó como patio de armas; y el otro, se planteó como patio palacial porticado, con columnas góticas, tiene en el centro un aljibe con una conducción que lleva al depósito de agua.
A partir del castillo señorial medieval, en el siglo XVI se construyó la fortaleza artillera. Tiene planta rectangular con pontentes cubos en cada ángulo, orientados a los puntos cardinales, los dos delanteros albergan sendas casamatas para instalar la artillería de la fortaleza. Los muros, levantados con piedra de sillería de calidad, tienen cinco metros de espesor y se rematan con un parapeto inclinado para desviar los impactos de artillería.
The castle of Berlanga de Duero is located in the town of the same name, belongs to the province of Soria and was built between the fifteenth century, when it served as a stately castle, and the sixteenth when it was transformed into an artillery fortress. Previously, in the 10th and 11th centuries, there was a Muslim fortress that, in the 12th century, after the Castilian conquest, was extended with the outer walled belt that remains.
Bordered by the River Escalote and embraced by the Duero, it is crowned by the imposing silhouette of the castle that watches over it from the Coborrón. The monumental complex is made up of the remains of the late medieval fortress (15th century), the artillery fortress from the Renaissance period (16th century), the wall that surrounds the hill at its base (12th century) and the Palace of the Dukes of Frías ( century XVI).
The complex began between 1460 and 1480 by order of D. Luis Tovar and Doña María de Guzmán, who ordered the building of the stately castle, to serve as a defensive fortress and family residence, on top of a previous castle located on top of the hill. where the primitive town of Berlanga was located, protected by the wall located at the foot of the hill.
In the year 1512 the new castle was projected and began to be executed, configured as an artillery fortress, for military purposes. This new fortress was adapted both to the steep topography of the land and to the previous construction (the stately medieval castle).
In the construction program of the Tovar lineages and the Dukes of Frías was also the erection of the palace in the inner enclosure of the 12th century wall, adapted to the new ways of life. This palace and its intramural gardens structured on various levels suffered, in 1811, a fire and destruction by Napoleonic troops, so that today only its main façade remains.
During the years 2004-2005, the Junta de Castilla y León undertook a Master Plan, a set of plans and actions aimed at the best conservation, protection and revitalization of this rich heritage. Research studies, consolidation and restoration of the remains of the monument or actions in the environment are included.
The stately castle (15th century) has a rectangular floor plan, in which the circular cube in the southern corner stands out, and the homage tower on the opposite side. Inside, two patios articulate the space: one, at the entrance, simpler, functioned as a parade ground; and the other, designed as a porticoed palatial courtyard, with Gothic columns, has a cistern in the center with a conduit that leads to the water tank.
Starting from the medieval stately castle, the artillery fortress was built in the 16th century. It has a rectangular floor plan with powerful cubes at each angle, oriented to the cardinal points, the two front ones house casemates to install the fortress's artillery. The walls, raised with quality ashlar masonry stone, are five meters thick and are finished off with a sloping parapet to deflect artillery impacts.
Life on the farm is always a pleasant visit with camera in hand. My wife's mom's farm just a few nights ago during a warm spring evening.
🔥=ЙЕШЅ=🔥=ЅРѲЙЅѲЯЅ=🔥
At ΔLᕈĦΔ EVEṈΓ opening Jan 22, 2024 - Feb 18, 2024.
•GASET - JOHN SET
🚖 ΔLᕈĦΔ EVEṈΓ 🚖
Quite a lot of you seem to have been having a lovely time recently. My Flickr feed has been filled with purple landscapes in all their finery. The heather has been blooming from one end of the land to the other. Apart from here. I’ve been waiting quietly, but all I’ve seen over the last few weeks has been a lot of brown patches. Maybe I blinked. I had a location in mind too, a little known one that Lee and I stumbled across a couple of years ago one mid September evening. All around the small patch of heathland were signs of what we’d missed. “This would look great in August,” we agreed. Last year I didn’t quite get round to making the return, all too wrapped up in the forthcoming Iceland escapade as I was, so this summer was going to be the time to visit the location once more. Except the heather doesn’t seem to have really happened - at least nowhere that I’ve been recently it hasn’t. It seems that the rest of you in other parts of the country haven’t been in a sharing mood. Well, you’ve shown me your pictures, but you haven’t sent any of the blooming heather down to Cornwall. Somebody told me it had looked pretty good down west in the middle of August, but when I went that way I saw little evidence.
This, taken at the start of June, was as good as things got for this photographer. Wheal Coates is normally a summer banker for a colourful display of purples on the clifftops around the engine houses, and Mother Nature is always on hand to add a healthy scattering of complimentary yellows in the low lying gorse. One Thursday evening after a tiring couple of days in the company of my baby grandson, and at a time when I was seriously considering a restorative gin and tonic in front of the television, I made the mistake of peering through the window. The sky was looking good on this calm and inviting evening, so despite the juniper driven lure, I sighed and dragged my weary carcass towards the car, stuffing the camera and the wide angle lens into the bag as I went. Twenty minutes later I was sitting uncomfortably on a small patch of earth, squeezed in between what blooms there were, and trying to find a suitable foreground to match the colouring sky as the sun sank towards the edge of the world across a listless pale blue ocean.
The gin might have been postponed for the moment, but I was glad to be here enjoying the peace. So often it’s a raw and brutal environment, but today there was hardly a breath on the air, and the ocean barely murmured in response to the unmistakable cries of the pair of choughs that live in the chimney of Towanroath's old engine house. Apart from the very occasional dog walker, and another lone tog who was perched further along the cliffs, there was nobody around. Well except for the man who’d pitched his tent beside the engine house - I’d have to clone him and his belongings out later. And if I could fill the foreground with purple, I might not even need to do that.
Getting the shot in focus was going to be a bit of a nuisance, with the absence of an articulating screen and a lens that refuses to focus automatically - in fact even when it does think it’s found focus by itself, it generally hasn’t. I recently enquired about getting it fixed, but it’s such an old model that the required part is no longer readily available. With the camera as low to the ground as the dinky tripod would allow, I had to lie across a particularly prickly layer of gorse to see the screen clearly enough to focus manually. And then again, and then a third time. Focus stacking is so much fun when you can’t flip out the screen and see what the camera can see from a comfortable angle - said nobody ever at all.
After half an hour of being repeatedly stabbed by stray vegetation, the light had begun to fail, and it was time to go home and open that bottle of gin. I hadn’t really got what I was looking for, but this was early June, and it was just a test run for what would come later in the season. I returned two or three times over the coming weeks, but as so often seems to happen, the first visit turned out to be the only one with passable results. At least it’s colourful. I’ll hope for a better show next year. And maybe a solution to the challenges of taking wide angle exposures at ground level too. These knees aren’t getting any younger you know.
April 13, 2019
Yes, indeed I feel as though this particular Spring is different. I call it a “Deep Spring.” Why? How to articulate such an expression? When the beauty of a single flower can ignite and excite my whole being...imagine what the whole of Spring can do. Yes, the push of love that spills out across the world...spreading rivers of green topped with every color...canopy and floor...spinning and twisting on everything in between. That would seem to be enough...imagine...the mystery of light...the invisible push...the source and the flow... now, we tread into the unspeakable...
-rc
Castillo, Berlanga de Duero, Soria, Castilla y León, España.
El castillo de Berlanga de Duero se encuentra en la población del mismo nombre, pertenece a la provincia de Soria y fue construido entre los siglos XV, cuando tuvo la función de castillo señorial, y en el XVI cuando se transformó en una fortaleza artillera. Con anterioridad, en los siglos X y XI, hubo una fortaleza musulmana que, en el XII, tras la conquista castellana, se amplió con el cinturón exterior amurallado que se conserva.
Bordeada por el río Escalote y abrazada por el Duero, se corona por la imponente silueta del castillo que la vigila desde el Coborrón. El conjunto monumental está formado por los restos de la fortaleza tardomedieval (siglo XV), la fortaleza artillera de época renacentista (siglo XVI), la muralla que ciñe el cerro en su base (siglo XII) y el Palacio de los Duques de Frías (siglo XVI).
El conjunto se inició entre los años 1460 y 1480 por encargo de D. Luis Tovar y doña María de Guzmán, que ordenaronn levantar el casillo señorial, para servir de fortaleza defensiva y residencia familiar, sobre un castillo anterior situado en lo alto del cerro, donde se localizaba la primitiva villa de Berlanga protegida por la muralla situada a los pies del cerro.
En el año 1512 se proyectó y comenzó a ejecutar el nuevo castillo, configurado como una fortaleza artillera, con fines militares. Esta nueva fortaleza se adaptó tanto a la topografía abrupta del terreno como a la construcción anterior (el castillo medieval señorial).
En el programa constructivo de los linajes Tovar y de los Duques de Frías se encontraba además la erección del palacio en el recinto interior de la muralla del siglo XII, adaptado a los nuevos modos de vida. Este palacio y sus jardines intramuros estructurados en diversos niveles sufrieron, en 1811, un incendio y una destrucción por parte de las tropas napoleónicas, por lo que en la actualidad solo se conserva su fachada principal.
Durante los años 2004-2005 se acometió por parte de la Junta de Castilla y León un Plan Director, un conjunto de planes y actuaciones orientadas a la mejor conservación, protección y revitalización de este rico patrimonio. Se incluyen estudios de investigación, consolidación y restauración de los restos del monumento o actuaciones en el entorno.
El castillo señorial (siglo XV) presenta planta rectangular, en la que destaca el cubo de planta circular, en el ángulo sur, y la torre del homenaje en el lado opuesto. En el interior, dos patios articulan el espacio: uno, a la entrada, más sencillo, funcionó como patio de armas; y el otro, se planteó como patio palacial porticado, con columnas góticas, tiene en el centro un aljibe con una conducción que lleva al depósito de agua.
A partir del castillo señorial medieval, en el siglo XVI se construyó la fortaleza artillera. Tiene planta rectangular con pontentes cubos en cada ángulo, orientados a los puntos cardinales, los dos delanteros albergan sendas casamatas para instalar la artillería de la fortaleza. Los muros, levantados con piedra de sillería de calidad, tienen cinco metros de espesor y se rematan con un parapeto inclinado para desviar los impactos de artillería.
The castle of Berlanga de Duero is located in the town of the same name, belongs to the province of Soria and was built between the fifteenth century, when it served as a stately castle, and the sixteenth when it was transformed into an artillery fortress. Previously, in the 10th and 11th centuries, there was a Muslim fortress that, in the 12th century, after the Castilian conquest, was extended with the outer walled belt that remains.
Bordered by the River Escalote and embraced by the Duero, it is crowned by the imposing silhouette of the castle that watches over it from the Coborrón. The monumental complex is made up of the remains of the late medieval fortress (15th century), the artillery fortress from the Renaissance period (16th century), the wall that surrounds the hill at its base (12th century) and the Palace of the Dukes of Frías ( century XVI).
The complex began between 1460 and 1480 by order of D. Luis Tovar and Doña María de Guzmán, who ordered the building of the stately castle, to serve as a defensive fortress and family residence, on top of a previous castle located on top of the hill. where the primitive town of Berlanga was located, protected by the wall located at the foot of the hill.
In the year 1512 the new castle was projected and began to be executed, configured as an artillery fortress, for military purposes. This new fortress was adapted both to the steep topography of the land and to the previous construction (the stately medieval castle).
In the construction program of the Tovar lineages and the Dukes of Frías was also the erection of the palace in the inner enclosure of the 12th century wall, adapted to the new ways of life. This palace and its intramural gardens structured on various levels suffered, in 1811, a fire and destruction by Napoleonic troops, so that today only its main façade remains.
During the years 2004-2005, the Junta de Castilla y León undertook a Master Plan, a set of plans and actions aimed at the best conservation, protection and revitalization of this rich heritage. Research studies, consolidation and restoration of the remains of the monument or actions in the environment are included.
The stately castle (15th century) has a rectangular floor plan, in which the circular cube in the southern corner stands out, and the homage tower on the opposite side. Inside, two patios articulate the space: one, at the entrance, simpler, functioned as a parade ground; and the other, designed as a porticoed palatial courtyard, with Gothic columns, has a cistern in the center with a conduit that leads to the water tank.
Starting from the medieval stately castle, the artillery fortress was built in the 16th century. It has a rectangular floor plan with powerful cubes at each angle, oriented to the cardinal points, the two front ones house casemates to install the fortress's artillery. The walls, raised with quality ashlar masonry stone, are five meters thick and are finished off with a sloping parapet to deflect artillery impacts.
Sit in reverie and watch the changing color of the waves
that break upon the idle seashore of the mind.
- Henry Wadsworth Longfellow
durch die Kiemen flutet ...
when light floods through the gills ...
Wenn die "Amateure" ins Museum dürfen, nennt es das Museum "Die Große" ... ja so ist Ddorf, voller Understatement ...
Meine Kamera hat zwar ein schwenkbares Display, jedoch habe ich es hier nicht benutzt. Zudem hatte ich das richtige Weitwinkelobjektiv nicht dabei.
Das Kunstwerk geht von der Decke fast bis zum Boden und ich hatte wenig Zeit, da jeden Moment der Museumsaufseher wieder erscheinen konnte und ich die Kamera mit der viel zu großen Augenmuschel einigermaßen in der 90°-Schwebe halten musste und gleichzeitig nicht das Kunstwerk berühren durfte und auch hoffte nicht von anderen Besuchern angemacht oder verraten zu werden.
Da fiel die Ausrichtung an der Umgebung von vorneherein flach und ich finde die Orientierungslosigkeit hier gut.
Beschreibe ich jetzt das Kunstwerk, das mich aus der Perspektive an ein Fischmaul erinnerte, so kann es sein, dass ich es banalisiere.
Denn es sind lediglich Teile oranger Sicherheitswesten, die der Künstler aneinander genäht hat und in Etagen an drei Metallseilen befestigte ...
Dieses Rot färbte auch das Sakko im Vorgängerfoto ...
Nun, früher mag es so gewesen sein, aber heute orientiert sich die Qualität der Kunst nicht mehr am Preis und der Qualität des Materials ...
English
When "amateurs" are allowed into the museum, the museum calls it "The Big (Great) One"... yes, that's Ddorf, full of understatement ...
My camera does have a swivel display (harrumph*... an articulating screen), but I didn't use it here. In addition, I didn't have the right wide-angle lens with me.
The artwork extends from the ceiling almost to the floor, and I had little time, as the museum attendant could reappear at any moment, and I had to keep the camera, with its much too large eyecup, somewhat suspended at a 90° angle, while simultaneously not being allowed to touch the artwork and hoping not to be bothered or betrayed by other visitors.
So, the orientation to the surroundings was a no-go from the start, and I like the disorientation here.
If I now describe the artwork, which reminded me of a fish's mouth from this perspective, I may be trivializing it.
Because they are simply pieces of orange safety vests that the artist sewed together and attached to three metal cables in tiers...
This red also colored the jacket in the previous photo ...
Well, that may have been the case in the past, but today the quality of art is no longer determined by the price and quality of the material...
_V0A9884_pt2
To fence someone in means to restrict them, to take away their freedom.
A bit of lyrics from the song Don't Fence Me In
"Oh, give me land, lots of land, under starry skies above
Don't fence me in
Let me ride thru the wide-open country that I love
Don't fence me in
Let me be by myself in the evening breeze
Listen to the murmur of the cottonwood trees
Send me off forever, but I ask you please
Don't fence me in
Don't fence me in
Just turn me loose
Let me straddle my old saddle underneath the western skies
On my cayuse
Let me wander over yonder till I see the mountains rise
I want to ride to the ridge where the west commences
Gaze at the moon until I loose my senses
I can't look at hobbles and I can't stand fences
Don't fence me in"
How about David Byrne singing this?
Something different....
The west coast of America is home to several types of whales, which are alway a treat to see and watch.
"In May of 2019, the 42-foot carcass of a male gray whale washed up on the shores of northwestern Puget Sound.
Today his complete skeleton is on permanent outdoor display, on Union Wharf, along the waterfront of Port Townsend, WA. It was given the nickname “Gunther” the gray whale by veterinarian Dr. Stefanie Worwag and her husband, retired police officer Mario Rivera.
Worwag and Rivera then gained permission from NOAA to articulate Gunther’s skeleton, (originally to be on their property), and began a multi-year rebuilding process. They asked for advice and assistance from industrial designer Les Schnick and shipwright Ric Brenden, who volunteered to create a mount for the massive skeleton. Their highly skilled craftsmanship and attention to detail, turned a large pile of bones into the magnificent gray whale skeleton exhibit on Union Wharf." ptmsc.com
I'll be posting 3 more images of this impressive display over the next 3 days. Hit L to see Gunther better.
Thanks for taking a look!
"the environment is where we all meet; where we all have a mutual interest;
it is the one thing that all of us share. it is not only a mirror of ourselves, but
a focusing lens on what we can become..."
~ lady bird johnson
It was late at night and I was very tired from the day's walkabout. But I just have to find and visit the Metropol Parasol. It is something very intriguing to me -- an architectural wonder designed by Mayer. This place is a new landmark for Seville and a place of identification to articulate Seville’s role as one of the world´s most fascinating cultural destinations. Very uber cool looking.
Homily012923- Mt 5:1-12a
“Christ died for all, so that those who live should not live for themselves, but for him who died for them” (2 Corinthians 5:15)
We hear the beatitudes quite often. We are taught them in our catechism classes, and we frequently hear them read at Mass. They are as familiar as milk in the fridge, but what are they? Technically, they are eight blessings that make up the Sermon on the Mount given by Jesus. They articulate simply the reward for a good action-a right choice. For example, there is a common phrase “that it is better to give then receive.” The proof of this statement is found in the action of giving. It is a choice, that begins with a “yes” to do it. Why else do parents surprise their children with gifts on Christmas morning. The blessings of the beatitudes work in a similar way. When we say “yes” to Jesus, to follow him and HIS way, the stage is set to receive the blessings. It is as simple as that. Of course, what sounds straightforward and easy, is never like that in reality.
The word beatitude comes from the word beatidudo which is Latin for blessedness. Each beatitude begins with the phrase “blessed are” which implies a state of peace, happiness and well-being. In Christ’s day it would have a meaning of “divine joy and perfect happiness. In addition there is an implied reward that all would be well in the future. Jesus’ intent is to bring a bit of the Kingdom of God on earth.
The action, on our part, is the decision to do a good thing, which comes first. Disciples of Christ understand this well.
When we say “Yes” to God, a space opens up in time…and a mystery unfolds in each and every moment of our lives. It is in this place that we have the potential to experience what our Gospel declares to us today. It is a unique experience for each of us. In our YES, in our experiencing and doing what Jesus does, we experience the “peace beyond understanding” which is the fruit of the Beatitudes. When we are given these graces, we recognize them…and ponder them in our heart.
Recently, I have read a book, called “Icon of Trust-Mary in the Gospels of Luke and John.” It follows Mary from her initial “Yes” and the many “Yes’s” flowing from her life as she shadows her Son.
“Mary’s childlike trust consists in giving a full yes to God — without knowing everything this yes implies. This complete yes is full of trust, not of detailed knowledge of what is to come.” “In front of God, she demonstrates the vigilance of someone ready to be surprised.”Mary is attentive, she is ready to say yes, and she is docile and humble in “ acknowledging the things she does not know and in trying to understand better the things she has already perceived and experienced; she is the perfect collaborator of God in the unfolding of His plan of salvation.”
I can remember my first “yes” to God. Since that first “yes”, I have learned that daily life consists of many yes’s. With each and every decision I make, big or small…that first “yes” becomes the context of all the yes’s that follow. My Christian walk, has been to follow Jesus. His gift of grace, which includes a peace beyond understanding, has accompanied me in the good and bad times of my life. In reflecting on my life, I can say that I have been blessed.
Brian Zahnd, a Christian author….paraphrases the beatitudes this way…
Blessed are those who are poor at being spiritual,
For the kingdom of heaven is well-suited for ordinary people.
Blessed are the depressed who mourn and grieve,
For they create space to encounter comfort from another.
Blessed are the gentle and trusting, who are not grasping and clutching,
For God will personally guarantee their share when heaven comes to earth.
Blessed are those who ache for the world to be made right,
For them the government of God is a dream come true.
Blessed are those who give mercy,
For they will get it back when they need it most.
Blessed are those who have a clean window in their soul,
For they will perceive God when and where others don’t.
Blessed are the bridge-builders in a war-torn world,
For they are God’s children working in the family business.
Blessed are those who are mocked and misunderstood for the right reasons,
For the kingdom of heaven comes to earth amidst such persecution.”
source: Brian Zahnd, “The Beatitudes”
Conclusion
Often, in our Christian walk, we struggle to find words to articulate to others why we have found our way of life purposeful and meaningful. The beatitudes are a beautiful display of of proverbs that describe beautifully what the state and outcome of living a sacrificial life is. This way of life begins when we invite Jesus into our hearts. It is not an easy life living as a Christian in the world today. But the peace, we hold in our hearts is worth every right choice we make to follow HIM. The rewards are experienced by us in this life and the life to come.
To capture this image I put my camera on a small bean bag in a frying pan to achieve a low angle of view, and used Live View on the articulating LCD screen to compose the shot. The low angle and backlighting helped to create the out-of-focus "bokeh balls" on the wet mudflats.
I'd wanted to try something like this for ages, so with an empty house, a fully articulating camera screen and a camera club competiion entitled "Faces" that was coning up, I took a series of images, some with my hands in front of my face and merged three of them together. Lit with two flashes, fired by triggers, either side of me.
I decided to brave the morning cold and attempt to create frozen bubbles. All of my first attempts proved futile as I sat outside this quiet and frigid Sunday morning. As I was about to give up, I looked down and saw that some of the bubbles had frozen but were on the driveway and much smaller than those I'd hoped to create. It was then that I decided I better put on an extension tube and make the best of the situation. It is unfortunate that my new camera does not have an articulating screen because doing shots on the ground is now quite cumbersome. By the time I saw these my hands were numb from the cold and I was shivering. Although this is not the sharpest image, I loved the light hitting the bubble so it is the winner. Next time, I will get an assistant because it was a tricky process.
it gave me the confidence to speak and was incredibly liberating... :-)
Anna Fox
HSS! Integrity Matters! Resist the Corrupt Grifter in Chief and his Cabinet of Stooges and Buffoons!
rose, 'Double Delight', little theater rose garden, raleigh, north carolina
Excerpt from the plaque:
St. Thomas & District Labour Council “Day of Mourning” Monument:
This monument is a heavy aluminum mass supported by strong columns using traditional post-and-lintel construction found in everything from buildings & bridges to desks & workbenches. The material and form are both traditional & contemporary as are the methods of fabrication. The upper structure resembles a rock but with the three projections, one carrying the emblem of the Canadian Labour Congress, the monument is transformed into something that has been honed by workers. The frieze of leaves articulates the surfaces and evokes the laurel wreath or crown work by heroes.
Meet Tayyab Parvez, a 22 year old man from Southampton, UK. He was waiting to have his haircut and very kindly allowed me to talk to him and take his portrait.
Tayyab was born in Southampton and has lived here all of his life. He works as a security guard, usually in large supermarkets, but it could be any venue in which he is required.
From my own experience in similar roles, Tayyab seems to me to possess the "The Right Stuff" for such a job. He is articulate, easy to talk to and has a quick sense of humour, exactly the traits that allow someone in his position to negotiate rather having to resort to force.
I hope I have the good fortune to meet him again.
Photographed with his permission at St Mary Street, Southampton, UK.
This picture is #001 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
AffTP1_8516
2019 English Christian Song | Gospel hymn | "The Significance of God’s Name"
www.holyspiritspeaks.org/videos/significance-of-God-s-name/
Introduction
Intro
In each stage of God's Work , there’s a basis for His name.
It holds special meaning, each name stands for one age.
Verse 1
God’s names through the ages—Jehovah, Jesus and Messiah—
all represent God’s Spirit, but not His entirety.
All the names He is called on earth cannot articulate
all His disposition, all that He has, all that He is.
Chorus
He was called Jesus, Jehovah, Messiah,
but when the last days come, His name will change again.
The whole age will come to an end under His name,
the powerful Almighty God .
Verse 2
God was once known as Jehovah,
He was once known as Messiah and Jesus.
But today He is not who they knew in times past,
He is the God who has returned in the last days.
He will bring the age to a close; He rises up at earth’s ends,
filled with God’s disposition, with authority and glory.
Chorus
He was called Jesus, Jehovah, Messiah,
but when the last days come, His name will change again.
The whole age will come to an end under His name,
the powerful Almighty God.
Verse 3
Nations will be blessed or crushed all because of His words.
Thus all people shall see the Savior has returned.
He is the Almighty God that conquers all mankind.
All shall see He once served as man’s sin offering.
Bridge
In the last days, He is the sun’s flame burning all,
in the last days, the Sun of righteousness revealing all.
In the last days, such is God’s work.
Chorus
He was called Jesus, Jehovah, Messiah,
but when the last days come, His name will change again.
The whole age will come to an end under His name,
the powerful Almighty God.
He was called Jesus, Jehovah, Messiah,
but when the last days come, His name will change again.
The whole age will come to an end under His name,
the powerful Almighty God, the powerful Almighty God,
the powerful Almighty God.
from Follow the Lamb and Sing New Songs
Recommended for You：Christian Music Video
Image Source: The Church of Almighty God
Terms of Use: en.godfootsteps.org/disclaimer.html
Melodía de sombras (Melody of Shadows, 2016) is a heap of testa non pertinente that invokes classical sculpture and, at the same time, commemorates the fallen in the conflicts that permeate our national reality.
_____ _____ ___ ___ __ __ _ .
Artist Cynthia Gutiérrez (born 1978 in Guadalajara, Mexico)
The work of Cynthia Gutierrez denotes a constant search to analyze memory at different levels, generating tensions or fissures in established schemes. Her reflections and processes depart from situations of conflict; from indefinite, unstable terrains with a vulnerable condition that allows movement in multiple directions. From fragments, she reconfigures images that alter habitual trajectories and destabilize structures offering alternatives that simultaneously operate between reality and fiction. She articulates historical elements from a new posture with distorted chronologies that evidence the impossibility of generating accurate memories, and reveal the transience of history.
( cynthiagutierrez.com/biography/)
Dans son travail, Cynthia interroge constamment l'instabilité de la mémoire ainsi que la pertinence des narrations historiques officielles. Dans Melodía de Sombras, l'artiste sature l'espace d'exposition en y plaçant une grande quantité de têtes classiques empilées. Elle questionne ainsi, par une répétition et un agencement inspirés par les ruines, le caractère identitaire de ces sujets, la multiplicité des visages dissolvant l'identité du masque particulier en un anonymat universal.
____________
( Eldorado: 27 avr - 03 nov 2019)
To my women with the utmost respect, intellect
We often forget and neglect intuition can see through illusive intent, listen to it
Just listen, just listen, oh
I found myself searching for a way to prevent, the detriment
And giving the impression that if you express to him what a woman needs
His comprehension is definite
But there’s a difference between understanding and honoring your word
And I’m articulate, he’s a good listener
But I’m hesitant ’cause he’s gonna fuck up anyways
~Dutch Proverb
My patience is being tested way too much lately. I am learning I am lossing it at a very fast rate. Help, if you have a 9 yr old boy and know what I am talking about :)
Ladies, feast your eyes upon and experience this [Lyrium] Ranya Animation Set. This stunning set comes with 4 different poses in Static, Breathing, and Animation versions.
I personally love this bento infused animation set. It enables me with so many photographic angles/opportunities with its beautiful feminine subtle, articulating poses.
These poses give you a lot of versatility to complement your AO - effectively allowing you to transition from active to passive with subtle and serene poses. Within the set, you also get curvy versions.
Also included within the set are P3 and P4 versions as well:
Use P3 If you don't want dances and other animations to conflict; and subsequently use P4 If you want your poses to override everything. The higher priority animation overrides a lower one, but not the reverse.
This [Lyrium] Vanda Animation Set is available @The Fifty ♡
[Event Opening Date: October 25]
[Event Closing Date: November 20]
[LM: maps.secondlife.com/secondlife/The%20Fifty%20Two/251/127/777]
General purpose tractor, crew of two, 1x manipulator arm.
Fixed! Much better with a tighter triangle on the tread shape. Still struggling with inside the tread and mechanism, it's really ugly in there, don't look too closely! But overall the vehicle has that chunky/boxy look I wanted to achieve. I guess irl the treads might be spayed out from the body more, to widen the load on the ice, but it just looks so much cooler having them tucked in tightly :-)
The white cockpit canopy thing was ok but I dunno, it made the vehicle feel a little too comfortable. Too many windows; reducing the viewport and really shrinking it down kinda gives it a squinting vibe, implies the environment is much more hostile. Like a tank feels: no windows = very hostile outside. It was hard to articulate at the start but having finished it I can see why it was bothering me.
Thanks everyone for the advice and comments on this one, much appreciated.
Another attempt (see previous photo) to articulate space. Straightforward definition of natural space without artistic inflection.
Through practice & practice I am attempting to implement Shore's principles of "spacial continuity"; do not impose structure of a scene from you, but rather allow the scene to organize itself into it's natural structure. On a flat picture plane have a “space” before the room division and a “space” behind it. Allowing the viewer to move around these distinct spaces. The viewer to be able to move their attention through the 'space' of the picture.....
Here, it appears geometry is trying to take over as the dominant factor wherein I wanted the transparency of space to lead the narrative.
... and I am actually taking this shot through a window from yet another defined space, thus adding another dimension to this project.
Lots of incoming waterfowl for us now. I love these wigeons and their little squeaky calls. If you happened to notice the low POV, camera lens on the tripod collar foot, on the ground, using the camera's articulating LCD from a "squat" position. Fun stuff.
This transformed railroad bridge is now a walking bridge and part of an 8 mile walking path near Farmville Virginia. It's not the longest bridge in the world, or the tallest bridge in the world, but it IS the longest / tallest combined bridge in the world. ( 2422 feet long and rising 125 feet) It passes over the Appomattox river. It's above the treetops and sadly there is a heavy duty wire mesh and thick boards making it almost impossible to take photos from. I put the camera strap around my neck and held the camera up high and out to get this shot. Happily the 60D has the articulating LCD monitor!
The nighttime shadows were fading fast as I switched to an ultra-wide view (only a few minutes after the shot posted yesterday). A magical place, this, sacred to the Blackfoot and other people of the plains. It was an honour and a privilege to stand there and watch night turn into day.
Like yesterday's shot, this one lay dormant in my RAW folders for 18 years; I wasn't happy with my attempts at processing, using the tools available at that time. Then I forgot about it, and it disappeared beneath the avalanche of newer work (ie. my next 408,000 frames... approximately). I'm glad I looked back. I think I got close to the feeling of being there. This one's like a whisper in my ear, saying something I can't quite articulate. Sometimes only a photo will do.
Photographed in Writing-on-Stone Provincial Park, Alberta (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2007 James R. Page - all rights reserved.
Pas de FAV sans commentaire.
No FAV without comment
"Galileo", un spectacle de la compagnie Deus Ex Machina.
Tous acrobates, les membres de la compagnie exécutent des figures autour d'une structure articulée, perchée à 30 mètres du sol.
La compagnie Deus Ex Machina nous conte la prise de conscience de la position de la Terre tournant autour du Soleil...
Bonne journée à tous.
Merci pour vos visites et commentaires
en ---------------
"Galileo", a show of the company's Deus Ex Machina.
All acrobats, the members of the company perform tricks around a structure articulate, perched 30 meters above the ground.
The company Deus Ex Machina, tells us about the awareness of the position of the Earth revolving around the Sun...
Good day to all.
Thank you for your visits and comments
de ---------------
"Galileo", eine show der compagnie Deus Ex Machina.
Alle akrobaten, die mitglieder der gesellschaft führen sie tricks um die struktur artikuliert, thront 30 meter über dem boden.
Die firma Deus Ex Machina erzählt uns, das bewusstsein für die position der Erde um die Sonne drehen...
Guten tag an alle.
Danke für eure besuche und kommentare
es ---------------
"Galileo", un espectáculo de la compañía de Deus Ex Machina.
Todos los acróbatas, los miembros de la compañía de realizar trucos en torno a una estructura articular, situado 30 metros sobre el suelo.
La empresa de Deus Ex Machina, nos habla de la conciencia de la posición de la Tierra la que giraba alrededor del Sol...
Buen día a todos.
Gracias por sus visitas y comentarios
nl ---------------
"Galileo", een show van de vennootschap Deus Ex Machina.
Alle acrobaten, de leden van de vennootschap, het uitvoeren van trucs rond een structuur verwoorden, ligt 30 meter boven de grond.
Het bedrijf Deus Ex Machina, vertelt ons over de bewustwording van de positie van de Aarde die rond de Zon...
Goede dag allemaal.
Dank u voor uw bezoeken en opmerkingen
it ---------------
"Galileo", uno spettacolo della compagnia il Deus Ex Machina.
Tutti gli acrobati, i membri della società di eseguire tricks intorno ad una struttura articolata, arroccato 30 metri da terra.
L'azienda Deus Ex Machina, ci racconta la consapevolezza della posizione della Terra attorno al Sole...
Buona giornata a tutte.
Grazie per le vostre visite e commenti
pt ---------------
"Galileu", um espectáculo da companhia do Deus Ex Machina.
Todos os acrobatas, os membros da empresa, executar truques em torno de uma estrutura articular, localizada a 30 metros acima do solo.
A companhia de Deus Ex Machina, nos fala sobre a consciência da posição da Terra em torno do Sol...
Bom dia a todos.
Obrigado por suas visitas e comentários de
just beware of the neighborhood dogs . . .
“Dogs never bite me. Just humans.” ~ Marilyn Monroe ~
Have a Safe, FUN Halloween, everyone .... this is my least favorite holiday . . . my willpower must kick in overtime to resist all the chocolate!
Sullo spartito della vita una splendida colonna sonora .
Note in armonia che scorrono tra vibrazioni inseguite e raggiunte...............
It's hardest to love the ordinary things, she said, but you get lots of opportunities to practice.
-Brian Andreas, Story People
I'm grateful for the beauty the ordinary things bring to my life :)
Castillo, Berlanga de Duero, Soria, Castilla y León, España.
El castillo de Berlanga de Duero se encuentra en la población del mismo nombre, pertenece a la provincia de Soria y fue construido entre los siglos XV, cuando tuvo la función de castillo señorial, y en el XVI cuando se transformó en una fortaleza artillera. Con anterioridad, en los siglos X y XI, hubo una fortaleza musulmana que, en el XII, tras la conquista castellana, se amplió con el cinturón exterior amurallado que se conserva.
Bordeada por el río Escalote y abrazada por el Duero, se corona por la imponente silueta del castillo que la vigila desde el Coborrón. El conjunto monumental está formado por los restos de la fortaleza tardomedieval (siglo XV), la fortaleza artillera de época renacentista (siglo XVI), la muralla que ciñe el cerro en su base (siglo XII) y el Palacio de los Duques de Frías (siglo XVI).
El conjunto se inició entre los años 1460 y 1480 por encargo de D. Luis Tovar y doña María de Guzmán, que ordenaronn levantar el casillo señorial, para servir de fortaleza defensiva y residencia familiar, sobre un castillo anterior situado en lo alto del cerro, donde se localizaba la primitiva villa de Berlanga protegida por la muralla situada a los pies del cerro.
En el año 1512 se proyectó y comenzó a ejecutar el nuevo castillo, configurado como una fortaleza artillera, con fines militares. Esta nueva fortaleza se adaptó tanto a la topografía abrupta del terreno como a la construcción anterior (el castillo medieval señorial).
En el programa constructivo de los linajes Tovar y de los Duques de Frías se encontraba además la erección del palacio en el recinto interior de la muralla del siglo XII, adaptado a los nuevos modos de vida. Este palacio y sus jardines intramuros estructurados en diversos niveles sufrieron, en 1811, un incendio y una destrucción por parte de las tropas napoleónicas, por lo que en la actualidad solo se conserva su fachada principal.
Durante los años 2004-2005 se acometió por parte de la Junta de Castilla y León un Plan Director, un conjunto de planes y actuaciones orientadas a la mejor conservación, protección y revitalización de este rico patrimonio. Se incluyen estudios de investigación, consolidación y restauración de los restos del monumento o actuaciones en el entorno.
El castillo señorial (siglo XV) presenta planta rectangular, en la que destaca el cubo de planta circular, en el ángulo sur, y la torre del homenaje en el lado opuesto. En el interior, dos patios articulan el espacio: uno, a la entrada, más sencillo, funcionó como patio de armas; y el otro, se planteó como patio palacial porticado, con columnas góticas, tiene en el centro un aljibe con una conducción que lleva al depósito de agua.
A partir del castillo señorial medieval, en el siglo XVI se construyó la fortaleza artillera. Tiene planta rectangular con pontentes cubos en cada ángulo, orientados a los puntos cardinales, los dos delanteros albergan sendas casamatas para instalar la artillería de la fortaleza. Los muros, levantados con piedra de sillería de calidad, tienen cinco metros de espesor y se rematan con un parapeto inclinado para desviar los impactos de artillería.
The castle of Berlanga de Duero is located in the town of the same name, belongs to the province of Soria and was built between the fifteenth century, when it served as a stately castle, and the sixteenth when it was transformed into an artillery fortress. Previously, in the 10th and 11th centuries, there was a Muslim fortress that, in the 12th century, after the Castilian conquest, was extended with the outer walled belt that remains.
Bordered by the River Escalote and embraced by the Duero, it is crowned by the imposing silhouette of the castle that watches over it from the Coborrón. The monumental complex is made up of the remains of the late medieval fortress (15th century), the artillery fortress from the Renaissance period (16th century), the wall that surrounds the hill at its base (12th century) and the Palace of the Dukes of Frías ( century XVI).
The complex began between 1460 and 1480 by order of D. Luis Tovar and Doña María de Guzmán, who ordered the building of the stately castle, to serve as a defensive fortress and family residence, on top of a previous castle located on top of the hill. where the primitive town of Berlanga was located, protected by the wall located at the foot of the hill.
In the year 1512 the new castle was projected and began to be executed, configured as an artillery fortress, for military purposes. This new fortress was adapted both to the steep topography of the land and to the previous construction (the stately medieval castle).
In the construction program of the Tovar lineages and the Dukes of Frías was also the erection of the palace in the inner enclosure of the 12th century wall, adapted to the new ways of life. This palace and its intramural gardens structured on various levels suffered, in 1811, a fire and destruction by Napoleonic troops, so that today only its main façade remains.
During the years 2004-2005, the Junta de Castilla y León undertook a Master Plan, a set of plans and actions aimed at the best conservation, protection and revitalization of this rich heritage. Research studies, consolidation and restoration of the remains of the monument or actions in the environment are included.
The stately castle (15th century) has a rectangular floor plan, in which the circular cube in the southern corner stands out, and the homage tower on the opposite side. Inside, two patios articulate the space: one, at the entrance, simpler, functioned as a parade ground; and the other, designed as a porticoed palatial courtyard, with Gothic columns, has a cistern in the center with a conduit that leads to the water tank.
Starting from the medieval stately castle, the artillery fortress was built in the 16th century. It has a rectangular floor plan with powerful cubes at each angle, oriented to the cardinal points, the two front ones house casemates to install the fortress's artillery. The walls, raised with quality ashlar masonry stone, are five meters thick and are finished off with a sloping parapet to deflect artillery impacts.
Think this female Ruby-throated is the chubbiest hummingbird I have seen. Well, she got all the flowers, different varieties and nectars she can feast on at NYBG (New York Botanical Garden).
All hummingbirds are small, and many are minute. Even the largest, the giant hummingbird (Patagona gigas) of western South America, is only about 20 cm (8 inches) long, with a body weight of about 20 g (0.7 ounce), less than that of most sparrows.
Hummingbirds have compact, strongly muscled bodies and rather long, bladelike wings that, unlike the wings of other birds, articulate (connect) to the body only from the shoulder joint. The architecture of the wing permits hummingbirds to fly not only forward but also straight up and down, sideways, and backward and to hover in front of flowers as they obtain nectar and insects from them. The rate at which a hummingbird beats its wings is the same during directional and hovering flight.
The ruby-throated hummingbird has a wing-beat rate of about 70 per second in the male and about 50 per second in the female.
---britannica.com
"I often think that the night is more alive and more richly colored than the day."
-- Vincent Van Gogh
A HDR image of the beautiful, other worldly curves of the lower antelope slot canyons. This was shot during my 1st visit to the lower antelope canyon.
To compose this image without a articulating LCD screen, I had to literally lie completely flat on the muddy canyon floor with my camera hardly a few inches off the ground facing up through the opening.
It is one of those mind boggling scenes one would ever encounter in life!