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Live, Believe & Dream! See You There!
"Connected"
Another cyber scene, with a gynoid connected by wire to the WorldWide Web.
A representation of the connection of the contemporary human, to all the data and events of the world.
To the good and the wrong.
Model: myself
Because of them I can connected my friends around the world, thank you the great team to invented computer, the incredible thing of the world:)
Friendship is the best thing of human's life, keep in touch.
So simple so beautiful&useful theme.
No edit in the light of bedroom by Tamron Lens.
Thank you to connected me:)
20120807-3698
Kijkje achter de schermen bij de neon-installaties van David Batchelor in het GEM te Den Haag. Bekijk deze installaties niet vanaf een afstand maar duik er gewoon middenin.
In het werk van David Batchelor (1955) draait het om de ervaring van kleuren van het moderne stadsleven.
Photograph from the objective and subjective series i did on my own neighborhood.
More can be found at: glenncox.myportfolio.com/
This probably would've been a good color photograph had more of the sunrise been visible. Oh well, I kinda like the black and white... even though a good majority of my photos lately have been monochromatic.
See more at markofphotography.com!
© All rights reserved.
The Chapel of Christ the Servant in Coventry Cathedral is essentially a free-standing clear glass cylinder at the ecclesiastical south-east of the building, connected only by a short passage. It thus makes an ideal room for display. This 15th Century stained glass was removed in 1939 with war looming and put into storage. It therefore represents one of the few surviving parts of the old Cathedral.
In 1992 one of Coventry’s then largest employers, the insurance giant, Axa Equity and Law, funded the conservation of three mosaic panels and three more seraph figures by Peter Gibson and the York Glaziers Trust. Initially the new panels were exhibited in display cabinets in the company’s own city centre offices but in 2002, following a change of ownership in the company, both the glass and the cabinets were transferred to their current location.
Just occasionally people tell me they don’t like Coventry Cathedral. I couldn’t disagree more; a powerful symbol of Resurrection, restored to a very different life barely twenty years after being destroyed in the Blitz on 14 November 1940. The Modernist Cathedral of St Michael of the 20th Century both surrounded by and incomprehensible without the ruins of 14th Century building that surrounds it.
Coventry Cathedral incarnates the twin and interconnected British revivals of the two decades after the end of the Second World War – a revival of high culture and a revival of Christian faith. Basil Spence’s cathedral housing Jacob Epstein’s sculptures, John Piper’s massive arrangements of stained glass into windows, and Graham Sutherland’s tapestry, still in 2021 the largest in the world, represent collectively a totemic achievement in modernist visual arts and architecture.
The brief for the competition to select the architect of the new Cathedral demanded that the design emphasise the celebration of the Eucharist; Spence himself had a further vision of the building as the repository of great modern works of art. He described his building as “a plain jewel casket”. Piper’s windows cast shafts of colour into the heart of the nave, while the plain glass West Screen, which faces to the geographical south, allows much natural light into the building, essential given that the east end is entirely filled with Graham Sutherland’s great tapestry, still the largest in the world at 22 metres tall by 12 metres wide.
Coventry Cathedral was built to a tight budget – “not more than £985,000” – and making much use of reinforced concrete, the new cathedral was constructed in just six years, between Queen Elizabeth II laying the foundation stone on 23 March 1956 and the dedication ceremony on 25 May 1962.
Could there have been a finer or more appropriate setting for the world première of Benjamin Britten’s War Requiem on 30 May 1962? On that night, the Cathedral’s great post-War religious theme was also incarnated in the three soloists: Peter Pears (Britten’s partner) from the host nation, Dietrich Fischer-Dieskau from Germany, Galina Vishnevskaya from the USSR, representing three belligerent nations. That tri-national partnership continues to be symbolised by the presence of a replica of the Stalingrad Madonna given by the Kaiser Wilhelm Memorial Church in Berlin, where the original hangs, with a second copy being in Kazan Cathedral in Volgograd.
A building that breathes with the presence of the Holy Spirit, giving new life the Church in every generation.
In situ sculpture from Yorkshire Sculpture Park. 'Everything is connected' by Peter Liversidge, 2012.
The Paul-Löbe-Haus and the Marie-Elisabeth-Lüders-Haus are two of the parliament buildings in the German capital. Since they are located on two opposite river banks of the Spree, they are connected by a small pedestrian bridge.
Somewhere... sometime... spirits are all connected... synchronized... that everyone is made for the others...
Like a hidden guard, shares your thoughts, shares your feelings, and is there for you to give you encouragement, support and advices, or even just make you feel better...
For every matter shown on your way, there will be always a healing spirit knows what you feel... sometimes maybe because they’re more wise or with more experiences, or sometimes just because they’re being them !!
As the lovely lady I’ve met in my new job, I’m new there, a little confused, and want to show them what I can do... for some reason she discovered me, she’s there for me, to give that dose of words to make me speak... at the same time, I’m there for her, as she feels that she can’t open her heart to anyone except me...
As a lot of my friends here... always make me feel happy........ and I always make them smile....... I wonder why !!! .... why ? :))
Every meeting in our lives is arranged for some reason, more we are connected... more we can make our lives better and joyful... so, don’t worry about anything, be sure that whatever you face in your life, there is always a soul can feel you, and will be there for you just in the right time... at the same time, YOU are the healing spirit for another... even if you didn’t know that... and so on...
And Life is Beautiful ♥ ... Connect it :)
32431 heads up North Parkway Seacroft and maybe reflects on its former grandeur as the FWY vip bus kept in immaculate condition.
A nice item in the Cazaux static display was this Mirage 2000D no. 676 which is locally based with the Direction Générale de l'Armement (DGA).
Cazaux, Landes
29th June 2019
20190629 2I8A 2566
my line sister, my vacation roomie, my back, my soror. Gye Nyame Edu love right here. Forever connected the 3 & the 4
Eilean Donan (Scottish Gaelic: Eilean Donnain) is a small tidal island where three lochs meet, Loch Duich, Loch Long and Loch Alsh, in the western Highlands of Scotland; since the castle's restoration in the early 20th Century, a footbridge has connected the island to the mainland. A picturesque castle that frequently appears in photographs, film and television dominates the island, which lies about 1 kilometre (0.62 mi) from the village of Dornie.
Eilean Donan is part of the Kintail National Scenic Area, one of 40 in Scotland.[2] In 2001, the island had a recorded population of just one person,[3] but there were no "usual residents" at the time of the 2011 census.[1]
Eilean Donan, which means simply "island of Donnán", is named after Donnán of Eigg, a Celtic saint martyred in 617. Donnán is said to have established a church on the island, though no trace of this remains.[4]
The castle was founded in the thirteenth century, and became a stronghold of the Clan Mackenzie and their allies the Clan Macrae. In the early eighteenth century the Mackenzies' involvement in the Jacobite rebellions led in 1719 to the castle's destruction by government ships. Lieutenant-Colonel John Macrae-Gilstrap's twentieth-century reconstruction of the ruins produced the present buildings.[4]
The Zelve Monastery is a Byzantine-era monastery that was carved into the rock in pre-iconoclastic times. It is part of the Zelve Open Air Museum, located between Ürgüp and Avanos.[1]
Remains
The remains of the Zelve monastery complex are located on the northern slopes of Aktepe, 1 km from Paşa Bağlari and 10 km out from Göreme on the Avanos road. Zelve does not have the rich frescoes of Göreme and other Cappadocian locations. Zelve is spread out over three valleys, of which two are connected by a tunnel. The complex contains innumerable rooms and passages which also house many pointed fairy chimneys with large stems, at about 40 feet above the valley floor.
The valley was a monastic retreat between the 9th and 13th centuries.[1] Christians moved to Zelve during the Persian and Arab invasions.[citation needed] The site was inhabited until 1952 when villagers were relocated to nearby Aktepe due to safety concerns.[1]
Cappadocia's first seminaries to train priests are located here at the monastery. Dating back to the early years of monastery life in Zelve is the Direkli Church (with the famed columns). Direkli is located at the bottom of the slope. The main decorations are iconoclastic-doctrine high relief crosses. The valley also contains the Balikli Kilise (Fish), Üzümlü Kilise (Grapes) churches and the now totally collapsed Geyikli Kilise (Deer church). These churches date to the pre-iconoclastic period.
The area was inhabited until 1952, when the last inhabitants moved to the new town Yeni Zelve ("New Zelve"), 2 km away. In 1967, Zelve was turned into an open-air museum.
The area also contains houses, a tunnel joining two of the valleys, a mill (without sails), and a small mosque. Several dovecotes are found in the valley.
en.wikipedia.org/wiki/Zelve_Monastery
CAPPADOCIA WORLD HERITAGE LIST :
whc.unesco.org/en/list/357
In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.
Brief synthesis
Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.
It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.
Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).
Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.
Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.
Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.
Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.
Integrity
Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.
The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.
Authenticity
The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.
Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.
Protection and management requirements
The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.
Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.
Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.
Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.
Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.
Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.
While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the property.
whc.unesco.org/en/list/357
www.nationalgeographic.com/travel/world-heritage/cappadocia/
en.wikipedia.org/wiki/Cappadocia
ZELVE VİDEO;