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The Celestial Sirens choir in habits by one of the stone groynes on Brighton beach.
Bleach bypass preset used in Bibble 5 for the effect (although I toned it down a little from the preset's base settings).
Best Large-
I’VE FALLEN UPWARDS (James Watkins)
I’ve fallen upward,
Into the lights,
Slipping away from
Darkness and night.
Up through the evening,
Into the clouds,
Faster and faster,
Spinning around…
Celestial highways,
Smoother than sound,
Daylight and darkness,
Turned upside down!
I’ve fallen upward,
Flung from the earth
Leaving the ground
Of original birth…
Kaleidoscope colors,
Circling clowns,
Blended with backgrounds,
Faces and crowds.
Just one step forward,
A turn to the right,
A slight separation,
And I will take flight!
James Watkins 03-09
Pachuca saca el empate a un Puebla FC aguerrido e impetuoso
Redacción | LAE Manuel Vela Flickr – Facebook
Puebla, Pue a 31 de Julio 2011
Puebla tuvo un primer tiempo efectivo donde concretó par de oportunidades frente a un Pachuca que siguió con yerros de marcación, pero recompuso el camino en el complemento, reacción que le valió para rescatar el empate 2-2.
En choque correspondiente a la fecha dos del Torneo Apertura 2011 del futbol mexicano de Primera División, disputado en el estadio Cuauhtémoc, las anotaciones de Camoteros fueron obra del refuerzo colombiano Duvier Riascos, quien se estrenó en el futbol mexicano a los 20 minutos, y del español Luis GarcÃa Sanz, en el 33.
Por Tuzos marcaron el Campeón Mundial Sub-17 de Perú 2005, Enrique Alejandro Esqueda, a los 69’, y el ecuatoriano Jaime Ayovà en el 84’ para rescatar la igualada y sumar su primera unidad, en tanto los poblanos llegaron a cuatro puntos, tras este duelo efectuado bajo pertinaz lluvia.
El conjunto de La Franja sacó réditos a la combinación formada por la banda izquierda entre el estadounidense Damarcus Beasley y el colombiano Duvier Riascos Barahona, quienes llegaron a fondo varias veces con peligro para poner servicios al área.
Precisamente una conexión entre ellos permitió al cafetero marcar el 1-0 a los 20 minutos, al recibir un pase dentro del área por la izquierda para llevarse al central argentino Javier Muñoz Mustafá y disparar raso cruzado para superar a Rodolfo Cota.
También por la derecha el argentino Gabriel Pereyra, Capitán de los poblanos, puso su dosis de veneno sobre la meta de Tuzos. De sus botines surgió un centro que Cota cortó ante el intento de remate de Riascos a primer poste, pero lo dejó frente a su arco y llegó Luis GarcÃa para aprovechar el "bombón" y tomar un cómodo 2-0 a los 33 minutos.
Los hidalguenses se perfilaban a llevarse un segundo revés abultado en contra, pero el técnico EfraÃn Flores reordenó a su equipo y desde el ingreso de Enrique Esqueda se vio mejor.
"Paleta" Esqueda dio fuerza al ataque de Tuzos y ensayó un primer tiro a los 45 para darle un aviso al guardameta Mario RodrÃguez de lo que vendrÃa en el complemento. Y es que desde que recomenzó el partido los visitantes tomaron el control del juego y presionaron en busca de recortar distancias.
Tras varios avisos el primer gol del Pachuca llegó a los 69 minutos en un potente disparo raso fuera del área a cargo de Enrique Esqueda, quien puso el balón en el rincón derecho para el 2-1.
Puebla volvió entonces a inquietar al joven arquero Cota, generó tres oportunidades en busca de recuperar su ventaja de dos tantos: un tiro libre de Gonzalo Pineda que dio en el poste izquierdo, un remate de Luis GarcÃa y un tiro de Riascos que salió cerca de la base del palo derecho, fallas que dieron vida a los visitantes.
Esqueda estuvo cerca de igualar en un remate con la testa a los 80, pero el ecuatoriano Jaime Ayovà aprovechó un centro del argentino Mauro Cejas que techó al arquero RodrÃguez para cerrar la pinza con frentazo con todo y la marca de Roberto Carlos Juárez para el 2-2.
La reacción de Tuzos estuvo cerca de quedar en el suelo a los 91 minutos, cuando en su intento por evitar un remate en el área el defensa central Horacio Cervantes conectó con la testa y mandó el esférico al travesaño, para después elevar su vista al cielo y agradecer a un poder celestial que impidió el autogol.
[Manuel Vela Photography Copyright©] This image is protected under International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission./ Esta imagen se protege conforme a leyes de Derechos de Autor internacionales y no se puede transferir, reproducir, copiar, transmitir o manipular sin el permiso de escritura.
"From the Heavens you fall with eternal desire. I am the smoke and you are the fire."
Models: Akitaka Kurosawa & Jae Joon Hwa-Kurosawa
Digging up more old slides and scanning them in. Lots of dust and scratches on these and plus color noise but I like the overall feel of these old slides. Not better than digital but different.
This is a large stainless steel sculpture I did around 2002. The five arms move in the wind. Even in almost still days this moves quite a bit. 24' tall.
Supermoon. December 3 2017. The only one this year.
There is suppose to be a "BLUE" Supermoon on January 31.
"Tranquera celestial"
Mi última vÃa láctea del 2018, espero les guste.
Con ésta imagen solo agradezco a Dios permitirme disfrutar de una naturaleza maravillosa, de poder vivir en medio de ella y disfrutarla tanto de dÃa como de noche. Los cielos estrellados se han convertido en mi fascinación y espero que durante el año 2019 se vengan muchos más y mejores.
Feliz año nuevo queridos amigos!!!!
f2.8
11.5mm
30"
ISO 2500
Nikon D5200
Tokina 11/20
This is my first bed quilt that I made in the summer of 1999 in Bishop, CA. I did a log cabin pattern with celestial fabrics and fussy cutting the centers. My mom hand quilted suns in the middle of each gold diamond.
Silk Roads – International Biennial of Culture
THE GREAT CELESTIAL ABSTRACTION
from the MACRO Museum in Testaccio to Second Life
MiC – Museums of Rome Capital
Opening 2012 January 23, 23.00 (02.00pm SLT)
slurl.com/secondlife/MiC/204/154/40
merlinomayo.wordpress.com/2012/01/23/the-great-celestial-...
museiincomuneroma.wordpress.com/2012/01/23/second-life-la...
museiincomuneroma.wordpress.com/2012/01/31/la-grande-astr...
www.viedellaseta.roma.it/index.php?option=com_content&...
en.macro.roma.museum/mostre_ed_eventi/mostre/la_grande_as...
www.flickr.com/photos/museiincomuneroma/sets/721576291122...
Ahli Filsafat Kristen dan Muslim mengembangkan teori Ptolymis tentang peta jagad raya ini. Arabic astronomer and polymath Ibn al-Haytham (Alhacen) melakukan pengembangan models Ptolemy's geocentric epicyclic dengan beberapa unsur yang berbeda significant dengan teori Ptolemy's (Yunani).
Dikalangan Islam juga terdapat perdebatan terkait hal ini. Pikiran Al-Haytham misalnya berbeda dengan pikiran dari Fakhr al-Din al-Razi, the Spanish-Arabian Muslim astronomer al-Bitrūjī (Alpetragius) juga mencoba menjelaskan dengan cara yang lain. Yunus Ibn al Husayn al-Asturlabi juga membuat suatu celestial sphere berisi peta antariksa, gugusan bintang dan planet di luar angkasa pada tahun 1145 (6 abad sebelum menara Eifel di bangun). Globe yang dibuat Yunus Asturlabi tersebut saat ini terpajang di Islamic Gallery di dalam Louvre Museum - Paris.
Link terkait:
2015 Weekly Alphabet Challenge, Week 8, H is for Heavenly
Combi of two pictures I took today, sky with a heart shaped cloud and our Chinese dragon bowl with the two herald angels and the Atlas figurine which belonged to my grandmother's clock. They rest in that bowl usually and all including the dragon are celestial bodies of a kind, see the clouds on the bowl.
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
Credit disclaimer: I do not own the original scanned image and believe that it is in the public domain. These images have been collected from Flickr search results. If you know the link to the original image, please kindly put it into comment section as I will update the description to give full credit to the respective owner.
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Beijing, China - Oct 30, 2016: Gilded bronze lion with right paw on globe at the Gate of Heavenly Purity, or Celestial Purity (Qianqingmen). Forbidden City (Gu Gong, Palace Museum).
Soledad Sevilla's "Written in the Celestial Bodies":
Since she began her career at the end of the 1960s, when she participated in the Seminar on Automatic Generation of Plastic Forms held at the Computing Centre of the Universidad Complutense de Madrid, Soledad Sevilla (Valencia, 1944) has explored the relationship between light, matter and space, combining analytical rigor and geometric order with a search for a sensorial and organic experience. Her works possess an internal poetic logic that makes them singular. Playing an important role in them are the evocation of the intangible, reflection on time and language, the presence of the paradoxical and investigation into the perceptive conditions of the senses.
Over time Soledad Sevilla moved from a style of painting that was serial and geometric (although always impregnated by small gestures and imprecisions that personalized and humanized it), to a more lyrical abstraction that seeks complicity between the emotional and the rational and where geometry becomes a tool for spatial analysis. In the mid 1980s she began to create her first installations. She considers installation art a medium complementary to the pictorial medium and establishes a rich feedback process between the two. In her installation pieces – which are situated on the border between sculpture, land art and architecture – Sevilla plays with the spectator's sensorial and bodily perception, with the tension between interiority and exteriority, between visibility and invisibility, between intimate experiences and public experiences, while always taking into consideration the specific features of the place hosting the installation. The artist designs abstract and complex structures but their organic dimension is always made clear, because they either incorporate or evoke natural elements and materials, undergo processes of cyclic transformation or are susceptible to the influence of external agents.
Written on the celestial bodies is an installation created specifically for Palacio de Cristal, in Madrid's Parque del Buen Retiro. In it Soledad Sevilla reproduces the dome and the walls of the building, using an aluminium structure and a series of polycarbonate panels that recreate the image of a night sky in which various linguistic signs are floating, as if they were randomly placed stars. In other words, the Palacio de Cristal, originally a greenhouse for tropical plants, contains a replica of itself that functions as a second skin. This skin is a porous and ephemeral one that protects from the exterior (from the outside), and at the same time reflects and recreates that exterior, enabling the building to become a space for reflection about the fragility of language and the need for communication and sharing.