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Here are a couple pictures from a shoot which i did today. The theme which i decided on with seimei was music.
My original idea went down the drain, so i decided to use the first instrument i ever properly learnt to play; the flute. I've always thought of the flute as a very elegant and beautiful instrument. In my mind it also has very strong connotations of nature and simple relaxation songs.
So, here's Bella looking very grown up. ^_^ I really hope i managed to capture the mood that i aimed for.
When I was younger swinging had few connotations. Fortunately or unfortunately AIDS took care of the sexual one and now definitely unfortunately Covid is interfering with the dancing. Last swing dance was beginning of March in Saigon and I was happy to hear that the Saigon Swing Cats are meowing again in May.
004. TMR Vietnam 2020- March -11, P1380644; Uploaded 03. June 2020. Lmx -ZS100.
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Update: In spring 2023, I met one of the girls on the photo in Toronto. She forgot my face, I forgot her face. Just through conversation about Vietnam, we made that connection. She lives and studies in Vancouver now and was visiting a friend in my city. We discovered that we were both that day at Sofitel Hotel in Saigon. Possibly even danced together. The world is tiny.
it has remained independent, has never been fully controlled by human , it has a symbolic connotation : lunar sometimes, sometimes solar ...
Merci, thanks to all my friends ♥
Un bon dimanche ♫☼♥
♫♫
Discrimination has come to have such negative connotations. When... really... it's a quality we couldn't live without. All things are not created equal. That includes us. And... really... it would be ridiculous to think that we... subjective creatures that we are... could feel the same about everyone and everything.
Discriminating simply means (or can simply mean) differentiating among different things. Is it bad to love apples and not pears? Is it wrong to prefer silk to polyester? Or chocolate to vanilla?
What about vertebrates over invertebrates? Or furry things over slippery ones? Or things with faces over things without faces? Or mammals or over insects?
I'll come clean. I discriminate against slugs, snails and caterpillars. Most other critters I can find redeeming qualities in. These guys? Ugh.
Although...
I've read that slugs are the only things that eat dog poop. And I guess that's a good thiing, considering the number of people in my neighbourhood who don't (grrrr) clean up after their dogs.
Um... go slugs go? And what about the snails? Surely they have some redeeming quality. Oh... I know. The shells.
But those are only good once the snails are dead. Meantime... sorry snail lovers... this photo totally makes me cringe.
L' ANCIEN REGIME E' ANCORA TRA NOI
L'Ancien Régime (o Antico Regime) era, per i rivoluzionari francesi, il sistema di governo che aveva preceduto la rivoluzione francese del 1789, cioè la monarchia assoluta dei Valois e dei Borboni di Francia. Aveva una chiara connotazione dispregiativa e come tale venne usata per estensione anche per le altre monarchie europee che mostravano sistemi di governo simili.
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THE ANCIEN REGIME IS STILL AMONG US
The Ancien Régime (or Old Regime) was, for the French revolutionaries, the system of government that had preceded the French Revolution of 1789, i.e. the absolute monarchy of the Valois and the Bourbons of France. It had a clear derogatory connotation and as such was used by extension also for the other European monarchies that displayed similar systems of government.
Informazioni tratte da Wikipedia, l'enciclopedia Libera
CANON EOS 6D Mark II con ob. CANON EF 70-300 f./4-5,6 IS USM
This beautiful shopping arcade in the centre of Turin was full of tourists in the day time so I thought it would worth an early morning visit to catch it like this.
Click here to see more of my photos from various trips to Italy : www.flickr.com/photos/darrellg/albums/72157603213111374
Translated from the Italian Wikipedia page : "The Galleria San Federico is a commercial building in the historic center of Turin. Built in the 1930s, it houses numerous business premises, offices and a historical cinema.
In 1931, at the suggestion of the mayor Thaon di Revel, he advanced the hypothesis of the restructuring of the previous Galleria Natta (later Geisser) present in the San Federico Island, creating a new covered commercial area that could be added to the already existing Galleria Subalpina. and Galleria Umberto I. The project was therefore inserted in the context of the imposing restructuring of Via Roma and the surrounding blocks that took place between 1931 and 1937; in 1932 the shipyard was started on the project of architect Federico Canova and engineer Vittorio Bonadè Bottino, who also took care of the simultaneous construction of the nearby Hotel Principi di Piemonte. The project was immediately distinguished by its connotations of modernity and prestige compared to the previous structure, providing ample space for shops, the construction of warehouses and underground garages and, in addition, numerous office spaces and a new cinema, replacing the old Cinema Meridiana . The works were characterized by their fast pace and ended in 1933, just one year after the opening of the construction site."
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The burning crucifix's relate to local Christian internecine strife. The seventeen crosses remember the seventeen Protestant (Christian) martyrs executed by the Catholic (Christian) Queen Mary (aka "Bloody Mary") a long time ago. There are no racist connotations.
Images taken during the legendary Lewes Bonfire Night Celebrations on 5th of November 2007.
A shuttlecock is a high-drag projectile used in the sport of badminton. It has an open conical shape: the cone is formed from sixteen overlapping goose feathers embedded into a rounded cork base. The cork is covered with thin leather. The shuttlecock's shape makes it extremely aerodynamically stable. Regardless of initial orientation, it will turn to fly cork first, and remain in the cork-first orientation. The name shuttlecock is frequently shortened to shuttle; a shuttlecock may also be known as a bird or birdie. The abbreviation cock is rarely used except in a jocular sense, due to its vulgar connotations. The "shuttle" part of the name was probably derived from its back-and-forth motion during the game, resembling the shuttle of a loom; the "cock" part of the name was probably derived from the resemblance of the feathers to a bird's crest
another homeless person
The term unsheltered refers to that segment of a homeless community who do not have ordinary lawful access to buildings in which to sleep. Such persons frequently prefer the term houseless to the term homeless. Others may use the term street people, which does not fully encompass all unsheltered in that many such persons do not spend their time on urban street environments. Many shun such locales and prefer to convert unoccupied or abandoned buildings, or to inhabit mountains or, more often, lowland meadows, and creek banks and beaches Many jurisdictions have developed programs to provide short term emergency shelter (often in churches or other institutional real property, during particularly cold spells). These are referred to as warming centers, and are credited by their advocates as lifesaving.
A portion of the homeless population are generally in transit, but there is no generally accepted terminology to describe them; some nomenclature is frequently associated with derogatory connotations, and thus the professional and vernacular lingo to describe these persons is both evolving and not lacking in controversy. Much of the concern stems from the European situation, where homeless persons of Roma, Sinti and other ethnic descent have rejected the term gypsy. Other terms which some use regarding in-transit persons are: transient, vagabond, tramp or drifter. Occasionally, these terms are interchanged with terms not necessarily implying that the person is a traveler, i.e. hobo. The termbum is used for persons lacking a work ethic. The term transient is frequently used in police reports, without any precise definitions across jurisdictions.
It is complex and difficult to define homelessness. Many different definitions have been made and changes to the concept are constantly being brought to attention. The United States Congress has developed a definition that has gone through multiple changes. First applied in 1987, this general definition was provided and is now called the McKinney-Vento Act. As time went on and homelessness was still apparent in the USA, Congress added a definition for the homeless children and youths that will be using the educational programs; this change accrued in 2002. Congress later, in 2009, enacted the Homeless Emergency Assistance and Rapid Transition Housing Act, also known as The HEARTH Act. This broadened the general definition of homelessness and gave more consideration to help given to those who are considered homeless. Once again, in 2011, the United States Department of Housing and Urban Development (HUD) issued a final rule to implement changes to the definition of homeless in the HEARTH Act. The implemented rule expands who is eligible for HUD-funded homeless assistance programs.
See more history on previous photo !
Contents
more candids here
www.flickr.com/photos/23502939@N02/albums/72157622769131641
More France here
www.flickr.com/photos/23502939@N02/albums/72157624934073273
Jan Herremans
The burning crucifix's relate to local Christian internecine strife. The seventeen crosses remember the seventeen Protestant (Christian) martyrs executed by the Catholic (Christian) Queen Mary (aka "Bloody Mary") a long time ago. There are no racist connotations.
Images taken during the legendary Lewes Bonfire Night Celebrations on 5th of November 2007.
Noble M400
Price
est $95,000
Engine
3.0-liter turbocharged V-6
Horsepower
425 bhp @ 6500 rpm
Transmission
6-speed manual
Weight
2320 lb.
The Noble M400 has 425 bhp yet only weighs 2320 lb. Sounds like the definitive lightweight sports car, doesn't it? But it's classified as a "kit car" in the U.S., which carries all kinds of negative connotations. So is the Noble for real? Turns out it's not only real, it's real good.
First, a bit of background on what a Noble is, and the process of acquiring one in the U.S. The M400 is the creation of Brit Lee Noble. After that, it gets confusing: The body and chassis are built in South Africa by Hi-Tech, imported to the U.S. by 1g Racing, in Hamilton, Ohio. After a prospective buyer purchases a rolling chassis (sans engine/drivetrain), it gets shipped to an installation shop of his choosing where a Roush-engineered (with Roush-mapped ECU) twin-turbo Ford V-6 and 6-speed Getrag transmission are installed. Whew!
While on the surface this might seem like a mess of gigantic proportions, the end result is impressive. The smooth-running 3.0-liter V-6 fires up with a couple of revolutions, settling into a quiet idle that belies the power (425 bhp at 6500 rpm and 390 lb.-ft. of torque at 5000) behind your head. Step on the long-travel throttle pedal (designed to give the driver better control) above 4000 rpm, though, and the M400 goes positively ballistic up to its 7200-rpm redline. Its blend of a medium-pitched snarl at full song and the whoosh! from the wastegates with every upshift makes you want to row up and down the positive-shifting 6-speed again and again (a far reach to 5th the only gripe here). Every time I did this, photographer Marc Urbano and I cracked up laughing, because we couldn't believe how crazy fast the car was. Testing proved 0-60 mph in 3.6 seconds and the quarter mile in 12.2, despite scorching hot temperatures.
Because of its incredible power-to-weight ratio, the Noble demands respect from its driver. It's not that it's hard to drive, but the rear tires can only do so much to control wheelspin exiting corners. Thankfully, the M400's quick-reacting chassis (a steel space frame with double-wishbone suspension front and rear) talks back to you, enabling you to catch oversteer with a quick flick of the steering wheel.
Like a Porsche 911 or a Lotus Elise, the Noble is all about weight transfer, requiring more driver attention than a typical car above 7/10ths. The front end feels light (with quick, communicative steering), producing a trace of understeer in low-speed corners, especially with power on. Trail braking works best through corners, thankfully without the snap oversteer tendencies of some mid-engine cars. And unlike most cars, which constantly remind you how heavy they are, the Noble is the opposite, at all times impressing with how light and nimble it is. This was proven by the 1.01g it pulled on the skidpad and 72.4 mph through the slalom, both near records at R&T.
Often classified as a track car, the M400 is actually a highly competent road machine. Suspension travel is quite good and the Bilstein coil-over shocks soak up bumps far better than a Lotus Elise. Although the M400 does without ABS, the firm brake pedal offers great modulation of the 13.0-in. AP Racing vented and cross-drilled rotors clamped by 4-piston calipers front and rear.
The interior is simple (crank windows, yet there's a/c), but because it's bathed in Alcantara (including the rollcage) it gives off a production-car feel, despite the unfinished plastic dash and Ford Mondeo switchgear. The super-tight pedal box is offset to the right, with possibly the smallest dead pedal ever.
1g Racing gets an allotment of six rolling chassis a month, at a price of $66,900; the engine/transaxle configuration adds another $19,000 or so. Installation brings the total to around $95,000, which may seem like a lot for a car that doesn't come complete from the manufacturer. But drive it and you'll believe: The Noble is one of the best sports cars in the world.
Autumn, also known as fall in North American English, is one of the four temperate seasons. Autumn marks the transition from summer to winter.
The word autumn comes from the ancient Etruscan root autu- and has within it connotations of the passing of the year. It was borrowed by the neighbouring Romans, and became the Latin word autumnus. After the Roman era, the word continued to be used as the Old French word autompne (automne in modern French) or autumpne in Middle English, and was later normalized to the original Latin. In the Medieval period, there are rare examples of its use as early as the 12th century, but by the 16th century, it was in common use.
Another aspect of autumn.
Normally the term “going to seed” has a negative connotation, meaning to decline, go downhill, age out, etc., but with peonies, I mean it in the nicest possible way.
I think peony seed pods are absolutely charming, giving the spring bloomers a whole other season of interest.
At summer’s end, when they split open to reveal their shiny blue and red seeds, wow!
Very impressive!
Not all of them do tough!
I especially like the open seed pods of the woodland peony (Paeonia obovata), with shiny blue to blue-black fertile seeds and brilliant red infertile ones.
Have a wonderful day and thanks for your visit, so very much appreciated, Magda, (*_*)
For more: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
Moloch horridus
Despite the connotations of its scientific name - these guys are purely awesome, and completely harmless to humans to boot.
Since first seeing illustrations of this species as a child, seeing them in the wild has been on my bucket list and last weekend my brother and I were lucky enough to see two on a short trip into the red centre of Australia. Seeing them in the flesh did not disappoint!
Thorny devils inhabit arid sandy areas in the interior of Australia where they feed upon ants - sometimes thousands at a time. They are able to channel water through their skin from any part of their body into their mouth to drink. Their markings are like a fingerprint - they are all slightly different. Whats not to love!? More shots of these guys to follow..
Wigan Pier is the name given to the area around the Leeds and Liverpool canal at the bottom of the Wigan flight of locks and a few hundred yards from the town center. The name “Wigan Pier” has humorous or ironic connotations since it conjures up an image of a seaside pleasure pier, whereas Wigan is an inland, industrial town. The pier is featured in George Orwell’s book “The Road to Wigan Pier” which took a harsh look at living conditions of England's working poor.
Swastika---which is depicted on these roof tiles in the Buddhist temple of Jing'an in Shanghai---has always been used as a symbol of divinity and spirituality in Indian religions, including Hinduism, Buddhism and Jainism. It brings quite different connotations in the minds of Westerners. This attests to the famous Buddha's saying that "where there is perception, there is deception".
Moloch horridus
Despite the connotations of its scientific name - these guys are purely awesome, and completely harmless to humans to boot.
Since first seeing illustrations of this species as a child, seeing them in the wild has been on my bucket list and last weekend my brother and I were lucky enough to see two on a short trip into the red centre of Australia. Seeing them in the flesh did not disappoint!
Thorny devils inhabit arid sandy areas in the interior of Australia where they feed upon ants - sometimes thousands at a time. They are able to channel water through their skin from any part of their body into their mouth to drink. Their markings are like a fingerprint - they are all slightly different. Whats not to love!? More shots of these guys to follow..
* sadly it was a rainy day :-(
Manufacturer: Jaguar Cars Ltd., Whitley, Coventry - UK
Type: Mark IV 3.5 LITRE 4-door Saloon
Production time: mid-year 1945 - mid-year 1948
Production outlet: 2,262
Production time: 1938 - 1940 / 1945 - 1948
Production outlet: 5,424
Engine: 3486cc straight-6 STANDARD MOTOR COMPANY OHV pushrod
Power: 125 bhp / 4.250 rpm
Torque: 250 Nm / 2.000 rpm
Drivetrain: rear wheels
Speed: 153 km/h
Curb weight: 1670 kg
Wheelbase: 120 inch
Chassis: box-section steel frame and separate all-steel body
Steering: Burman-Douglas worm & nut
Gearbox: four-speed manual (by Moss) / II, III and IV synchronized / floor shift
Clutch: 9.06 inch Borg & Beck single dry plate disc
Carburettor: twin SU
Fuel tank: 64 liter
Electric system: Lucas 12 Volts 51 Ah
Ignition system: distributor and coil
Brakes front: mechanical 14 x 1.3/4 inch Girling drums with dual brake shoes
Brakes rear: mechanical 14 x 1.3/4 inch Girling drums with dual brake shoes
Suspension front: beam type with stub axleof the reversed Elliot type, triangular crossbars,torsion stabilizer, longitudinal semi-elliptic leaf laminated springs + Armstrong hydraulic piston type shock absorbers
Suspension rear: live axle, torsion stabilizer, longitudinal semi-elliptic laminated leaf springs + Armstrong hydraulic piston type shock absorbers
Rear axle: rigid
Differential: hypoid 4.25:1
Wheels: 18 inch Dunlop wire wheels
Tires: 5,25 - 18 Dunlop
Options: double Lucas electric horns, rear defroster, two-tone colouring
Special:
- Jaguar Cars Limited was founded as the Swallow Sidecar Company in 1922 in Blackpool by two motorcycle enthusiasts, William Lyons and William Walmsley, renamed Swallow Coachbuilding Company Limited and moved to Foleshill, Coventry in 1929, changing into SS Cars Ltd in 1933 and finally becoming Jaguar Cars Ltd in 1945 at Whitley, Coventry.
- This luxury limousine (inlaid walnut wood and leather interior, Wilton wool carpeting, tilt steering, large chrome plate headlights, chrome grille shell and thermostatic shutters) was the most expensive pre-war model pre-war model of the company SS Ltd.
- It is designed by William Lyons, technically supported by Chief Engineer W. M. Haynes and all assembled in Coventry - UK.
- A bad design fault of the first series was that fumes could escape through the internal central partition, perhaps due to a (too) tight adjustment of the engine.
- William Lyons’s SS (Swallow Sidecar) Cars Ltd. was renamed Jaguar Cars Ltd. after World War II, to avoid the unfavourable connotations of the SS initials.
- The pre-war model (1938-1940) was called SS Jaguar 3.5 Litre Saloon, again produced after WWII and unofficially called Mark IV, as its successor as Mark V was presented in 1948.
- The Saloon had a sister car, the Mark IV 3.5 Litre 2-door Drop Head Coupé (1938-1948: about 700 units built in total and pre-war 1945-1948: 560 units built).
So, I'm a big dork and just couldn't stop singing "American Pie" while I was baking this. This is my favorite lyric because it mentions a marching band (like I said, I'm a dork...an old band dork to be more specific)! :D
I am aware that the lyric is most likely a reference to Kent State...but, right now I prefer my happier connotation!
Now the half-time air was sweet perfume
While the sergeants played a marching tune.
We all got up to dance,
Oh, but we never got the chance!
`cause the players tried to take the field;
The marching band refused to yield.
Do you recall what was revealed
The day the music died?
We started singing,
"bye-bye, miss american pie."
Drove my chevy to the levee,
But the levee was dry.
Them good old boys were drinkin' whiskey and rye
And singin', "this'll be the day that I die.
"this'll be the day that I die."
The blue hour is famous for its romantic connotations, particularly in the arts. A colloquial French saying characterises the blue hour as a time of confusion and mystery, since it is impossible to determine whether it is really night or day.
The blue hour ( La hora azul, in Spanish, or L'Heure Bleue in French) is the period of twilight early in the dawn each morning and late dusk each evening when the sun is at a significant distance below the horizon and the residual, indirect sunlight takes on a predominantly blue hue. This effect is caused by the relative diffusibility of short blue wavelengths of light versus the longer red wavelengths.
During the blue "hour" (typically the period is about 40 minutes in length), red light passes straight into space while blue light is scattered in the atmosphere and therefore reaches the earth's surface. Because of the quality of the light, this period is treasured by artists. --Wikipedia
Khalil Chishtree’s installation of ethereal life-sized figures offers an upbeat and humanitarian take on plastic pollution and our threatened ecosystem. Chishtree wields one of the most ordinary and ubiquitous materials of our era, the plastic bag, to explore both the material’s possibilities and connotations for the well-being of the human race. Realizing only one figure in its entirety, and leaving the others incomplete, Chishtree accentuates the importance of progress and change as we encounter the challenges of that plastic pollution has wrought on our land and oceans. We greet his figures holding hands in a circle facing towards us in an expression of mutual support and empathy. Composed entirely of white plastic garbage bags, their material denotes man’s responsibility to the environment, and the need to act together towards a cleaner ecosystem.
Bab Agnaou is one of the best-known gates of Marrakech, Morocco. Its construction is attributed to the Almohad caliph Abu Yusuf Ya'qub al-Mansur and was completed around 1188 or 1190.
The word bab comes from the Arabic word meaning 'Gate' or 'Door'. The name agnaou is believed to be of Berber origin and had multiple historically reported meanings including "mutes" and, later on, "Black people" (or the Gnawa); however, it's unclear what exact connotation the name had in this case.âIt might also be translated to "a sheep without horns". The potential reference to the Gnawa might be explained by the fact that the gate is in the southern part of the city and faces partly southwards, thus away from North Africa and more towards sub-Saharan Africa.
Source Wikipedia
The stylish connotations of the name "Trocadero" derive from the Battle of Trocadero in southern Spain, a citadel held by liberal Spaniard forces that was taken by the French troops sent by Louis XVIII of France, in 1823. The battle was commemorated in the Place du Trocadéro, Paris, and the monumental glamor of the Parisian site has given rise to a variety of locales bearing its name.
The word puffin is thought to be derived from the word 'puff' which refers to swollen. And it is the puffin chick that contributes best to this name because of its round, puffed look resulting from its dense cover of down feathers - an adaptation for retaining body heat while the parent is off fishing. Indeed, they resemble little puff balls with beak and feet. Puffins have also been called "clown of the ocean" and "sea parrot" because of their clown-like facial markings and colorful beak (more like that of toucans).
The puffin's scientific name, Fratercula arctica dates back to the last half of the 1800's. This name means "little brother of the north" in Latin. Little brother alludes to 'little friar' referring to the puffin's black and white plumage which is reminiscent of a friar's robes. A second connotation of little friar may be drawn from the puffin's sometime habit of holding it's feet together when taking off, suggestive of hands clasped together in prayer.
For about 40 000 years now we have depictions and statues of women with an undeniably religious connotation. This statue (Cycladic, about 5000 years old) is only one in a chain that would lead eventually to the Mary of Christianity. And that will not be the end of it.
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The Kurhaus Dangast, built around 1800, has been a family business since 1884 and is in the fourth generation. Located on a ridge above the stone dike, you can see the Jade Bay and the Wadden Sea - a natural heritage that promises a constantly changing backdrop due to the tides. Regardless of whether the tide is high or low, you can take a bath in sea water or mud on the beach that runs below the spa house. With a pot of Frisian tea or a pot of filter coffee, which is brewed by hand, you can have a long snack, read and relax. The Kurhaus also offers traditional homemade dishes and cakes with unconventional catering and hospitality. The rhubarb cake, which is served hot from the oven, is a celebrated legend and probably the most eaten cake in Friesland.
The red carpet, and the associated elitist connotation of a health resort, was removed from the Kurhaus in the mid-70s. And so today, young and old as well as residents and travelers come and go. The ambience is a mix of laissez-faire and hustle and bustle. Last but not least, the staff ensures this refreshingly relaxed atmosphere.
Free spirits and artists have also had a significant impact on this place for decades and are still helping to keep it changeable and authentic at the same time. Every now and then in the evening tables are pushed aside to make room for concerts or readings, oil paintings from Anatol to Radziwill make way for a temporary exhibition or preparations are made on the terrace for the summer open-air cinema.
The Kurhaus Dangast - a place that stays as it is and doesn't get boring.
Although St Mark's was modelled after the Church of the Holy Apostles in Constantinople, ceremonial needs as well as the limitations posed by the physical site and the pre-existing walls and foundations made it necessary to adapt the design. The overall cruciform plan with five domes was maintained. But the Holy Apostles was a true centrally planned church: the central dome, larger than the others, was alone pierced with windows, and the altar was located underneath. Also, there was no distinction between the four crossarms: no apse existed, and double-tiered arcades surrounded the interior on all sides. In contrast, the longitudinal axis was emphasized in St Mark's so as to create the space appropriate for the processions associated with state ceremonies. Both the central and western domes are larger, accentuating the progression along the nave, and by means of a series of increasingly smaller arches, the nave visually narrows towards the raised chancel in the eastern crossarm, where the altar stands. The crossarms of the transept are shorter and narrower. Optically, their height and width are further reduced by the insertion of arches, supported on double columns, within the barrel vaults. The domes of the transept and the chancel are also smaller.
As with the Holy Apostles, each of the domes rests on four barrel vaults, those of the central dome rising from quadripartite (four-legged) piers. But the two-tiered arcades that reinforced the vaults in the Holy Apostles were modified. In St Mark's there are no upper arcades, and as a result the aisles are less isolated from the central part of the church. The effect overall is of more unified sense of space and an openness that have parallels in other Byzantine churches constructed in the eleventh century, an indication that the chief architect was influenced by middle-Byzantine architectural models in addition to the sixth-century Church of the Holy Apostles.
The location of the main altar within the apse necessarily affected the decorative programme. The Christ Pantocrator, customarily located in the central dome over the altar, was placed in the semi-dome of the apse, where normally the Virgin in prayer was depicted in middle-Byzantine churches. The large seated figure, now a sixteenth-century recreation, is surrounded with the inscription: "The King of all, made flesh for the love of sinners, do not despair of forgiveness while you have time." (SUB REX CUNCTORUM CARO FACTUS AMORE REORUM · NE DESPERATIS VENIE DUM TEMPUS HABETIS). Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray Saint Nicholas of Myra, Saint Peter, Saint Mark, and Saint Hermagoras of Aquileia as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers. Saint Peter, Saint Mark, and Saint Hermagorus also indicate the apostolic foundation of the Aquileian church, of which Venice is understood to be the legitimate successor.
Over the high altar in the eastern crossarm is the Dome of Immanuel (God with us), which concerns the Incarnation. It presents a young, beardless Christ in the centre, surrounded by stars in allusion to his divine nature. Radially arranged underneath are standing figures of the Virgin, as the mother of Incarnate God (ΜΡ ΘΥ), and Old-Testament prophets, the latter bearing scrolls with passages that largely refer to the Incarnation. Rather than seraphim as was customary in middle-Byzantine churches, the pendentives of the dome show the symbols of the four evangelists.
An extensive cycle narrating the Life of Christ covers much of the interior, with the principal events located along the longitudinal axis. The eastern vault, between the central dome and the chancel, contains the major events of the infancy (Annunciation, Adoration of the Magi, Presentation in the Temple) along with the Baptism of Christ and the Transfiguration. In their present form, these mosaics date from the sixteenth century and are based on preliminary drawings by Tintoretto's workshop. The western vault depicts the events of the Passion of Jesus on one side (the kiss of Judas, the trial before Pilate, and the Crucifixion) and the Resurrection on the other side (the Harrowing of Hell and the post-resurrection appearances). Consistent with middle-Byzantine decorative programmes, the Crucifixion and the Harrowing of Hell, are placed opposite one another, and the resurrected Christ is portrayed as if walking toward the altar. A secondary series illustrating Christ's miracles is located in the transepts, but the arrangement of the episodes is not always chronological. The series, originally consisting of twenty-nine scenes, seems to have derived from an eleventh-century Byzantine Gospel. The transepts also contain a detailed cycle of the Life of the Virgin: these scenes were probably derived from an eleventh-century illuminated manuscript of the Protogospel of James from Constantinople. As a prelude, a Tree of Jesse showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551. Throughout the various narrative cycles, Old-Testament prophets are portrayed holding texts that relate to the New-Testament scenes nearby.
The Dome of the Ascension occupies the central position, whereas in the Church of the Holy Apostles it was located over the southern crossarm. The prominence given to the representation of the Ascension of Christ into heaven may have had political connotations as a reference to the civic celebrations on Ascension Day, which began with solemn mass in St Mark's and involved the Doge's ceremonial marriage of the Adriatic as a symbol of Venice's dominion on the sea. The dome, executed in the late twelfth century, is exemplary of middle-Byzantine prototypes in Constantinople. In the centre Christ ascends, accompanied by four angels and surrounded by standing figures of the Virgin, two angels, and the twelve apostles. As tradition in Byzantine art, two of the apostles have been substituted with Mark and Luke in order to have, together with Matthew and John, all four of the evangelists. The inscription derives from Acts 1:10 and anticipates the return of Christ and the Last Judgement: "Say, why do you stand looking into heaven? This Son of God, Jesus, o men of Galilee, as he departs from you, so shall he come as judge of the world, with right judgement to give all their due" (DICITE QUID STATIS IN AETHERE CONSIDERATIS · FILIUS ISTE D[E]I I[ESU]S CIVIS GALILEI · SUMPTUS UT A VOB[IS] ABIIT ET SIC ARBITER ORBIS · JUDICII CURA VENIET DARE DEBITA JURA). As customary for the central dome in middle-Byzantine churches, the pendentives contain the four evangelists, each with his gospel. The addition, underneath, of the representations of the four rivers that flowed from the Garden of Eden indicates a western influence. Thematically, these rivers allegorize the live-giving water that flows from the Gospel. Distinctly western is also the inclusion of the virtues and beatitudes that alternate with the windows.
As in the Church of the Holy Apostles, the Dome of Pentecost is located over the western crossarm. In the centre is an hetoimasia, an empty throne with a book and dove. Radiating outward are silver rays which fall on the heads of the apostles and evangelists seated around the outer rim of the dome, each with a flame on his head. The circular inscription describes the infusion of the Holy Spirit on Pentecost: "The Spirit pours over them, strengthening them by filling the heart of each and uniting them by bonds of love. Then the nations become believers, seeing the miracle of the speaking in various tongues" (SPIRITUS IN FLAMMIS SUP[ER] HOS DISTILLAT UT AMNIS CORDA REPLENS MUNIT ET AMORIS NEXIBUS UNIT HINC VARIE GENTES MIRACULA CONSPICIENTES FIUNT CREDENTES VIM LINGUE PERCIPIENTES). The nations are represented by the groups of figures that are interspersed with the windows below, whereas the pendentives, rather than the nations as was typical for the Pentecost dome in Byzantine churches, contain angels.
In keeping with Pentecost, as the institution of the Church, the side vaults and walls of the western crossarm largely illustrate the subsequent missionary activities of all twelve of the apostles and their deaths as martyrs. The specific events in the lives of the various apostles and the manner of their deaths adhere to Western traditions, as narrated in Latin martyrologies that derive in part from the Book of Acts but to a greater extent from apocryphal sources. However, the single representations and the overall concept of presenting the lives of the saints in a composition that combines several events together in one scene have their parallels in Greek manuscript illustrations of the middle-Byzantine period. A number of the mosaics were later remade, using preliminary drawings by Antonio Vassilacchi, Palma Giovane, and Alessandro Varotari.
The western vault illustrates Saint John's vision of the Apocalypse and, as the end of the decorative programme, the Last Judgement. Several of these mosaics are no longer the originals, having been remade on the basis of preliminary drawings by Tintoretto, Domenico Tintoretto, Maffeo Verona, and Antonio Vassilacchi. On the wall below there is a thirteenth-century deesis with Christ enthroned between the Virgin and Saint Mark.
The chancel is enclosed by a Gothic altar screen, dated 1394. The work of Pierpaolo dalle Masegne [it] and his brother Jacobello dalle Masegne [it], it is formed by eight columns made of marbles from southern France, Lesbos, and Anatolia and is surmounted by a bronze and silver Crucifix, flanked by statues of the Virgin and Saint Mark, together with the twelve apostles. On the left of the screen is the ambo for readings from Scripture. On the right is the platform from which the newly elected Doge was presented to the people. From here, important relics were also displayed on major holidays, notably the relic of the Precious Blood which was shown to the faithful on Maundy Thursday and again during the Easter Vigil.
Behind the screen, marble banisters with Jacopo Sansovino's bronze statues of the Evangelists and Girolamo Paliari's of the four Latin Doctors of the Church mark the limit of the choir, which after the reorganization by Doge Andrea Gritti (in office 1523–1538) was utilized by the Doge, civic leaders, foreign ambassadors, and the knights of Saint Mark. The backs of the seats (dispersed) were inlaid with allegories of the theological and cardinal virtues and were covered for ceremonies with silk and gold thread tapestries by Jan Rost of Flanders [it]. The tribunes above, for musicians and singers, are faced with bronze reliefs by Sansovino that portray events in the life of Saint Mark and his miracles.
Beyond the banisters is the presbytery, reserved for the clergy, with the high altar which since 1835 contains the relics of Saint Mark, previously located in the crypt. The ciborium above the altar is composed of a canopy in Verd antique supported by four intricately carved columns, in Proconnesian marble, with scenes that narrate the lives of Christ and the Virgin. The age and provenance of the columns is disputed, with proposals ranging from sixth-century Byzantium to thirteenth-century Venice. According to tradition, they are spoils taken from the Basilica of Santa Maria del Cannetto in Pola by Doge Pietro II Orseolo (in office 991–1009). The altarpiece, originally designed as an antependium, is the Pala d'Oro, a masterpiece of Byzantine enamels on gilded silver that incorporates 1,300 pearls, 300 sapphires, 300 emeralds, 400 garnets, 90 amethysts, 15 rubies, 75 spinels, and 4 topazes, all highly polished, unfaceted gems. The altarpiece was ordered from Constantinople in 1102 by Doge Ordelafo Faliero Dodoni (in office 1102–1118). It was enlarged in 1209 with enamels taken from the Monastery of the Pantocrator in the aftermath of the Fourth Crusade. In its present form, the altarpiece dates to 1345 when the enamels were reorganized and the Gothic frame was added. Some of the enamels may come from the first altarpiece, ordered in Constantinople by Doge Pietro I Orseolo in 976.
The two choir chapels, located on either side of the chancel, occupy the space corresponding to the lateral aisles in the other crossarms. They are connected to the chancel through archways which also serve to reinforce the barrel vaults supporting the dome above.
The choir chapel on the northern side is dedicated to Saint Peter. Historically, it was the principal area for the clergy, probably in consideration of its proximity to the residences of the clerics to the north of the church. The altar contains the relics of Saints Peter, John the Evangelist, Matthew, Luke, and Bartholomew, which were likely acquired in the ninth century for the Participazio church. This was consistent with the tradition, that began with Saint Ambrose's fourth-century Basilica Apostolorum in Milan, whereby the possession of important relics, specifically those of the apostles, was necessary to distinguish the political and ecclesiastical importance of a city.
The mosaic decoration in the vault above the chapel largely narrates the life of Saint Mark in order to demonstrate the apostolic origins of the Patriarchate of Aquileia. It begins with Saint Peter's unhistorical consecration of Saint Mark as bishop of Aquileia and later of Saint Hermagoras as his successor and concludes with Saint Mark's departure for Alexandria, his martyrdom, and burial. The figures of 'Patriarch' Helias of Grado and Pope Pelagius II, located on the arch that connects the chapel to the chancel, refer to the alleged papal recognition of Grado as Aquileia's successor and of Grado's metropolitan jurisdiction over Venetia. Beginning in 1156, the Patriarch of Grado (after 1451 Patriarch of Venice) resided in Venice, and from at least the twelfth century, he had a seat on the northern side of the chancel of St Mark's, near the entry to the choir chapel of Saint Peter, from which he could assist at mass on the high altar.
Prior to the sixteenth century, the Doge's throne was located on the opposite side of the chancel, near the choir chapel of Saint Pope Clement I, which through the doorway opens to the courtyard of the Doge's Palace. The chapel was particularly reserved for the Doge's private use. From the window above, which communicates with his private apartments, it was also possible for the Doge to assist at mass in the church. Around the perimeter of the chapel, the inscription reminds the Doge that he shall be judged for his actions after his death, and it specifically exhorts him to love justice and to give everyone his due; to be a patron and benefactor of paupers, widows, minors, and orphans; and to not be influenced by fear, desire, hate, or greed.
Above the chapel, the mosaics in the vault continue to illustrate the story of Saint Mark with the events of the translatio. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice and serve to demonstrate Venice's legitimate right to possess the relics. They also symbolically indicate the transfer of metropolitan authority from Aquileia/Grado to Venice. The altar contains the relics of early martyrs of the Roman Empire, particularly of Aquileia.
Day 208. In this case burning bridges doesn't have negative connotations. It's more about not looking back.
From our trip to Greyland. But since it is October and Halloween is looming closer, I thought the description fits....
The vardøger or vardøgr is a spirit predecessor, from Norwegian folklore. Stories typically include instances that are nearly déjà vu in substance, but in reverse, where a spirit with the subject's footsteps, voice, scent, or appearance and overall demeanor precedes them in a location or activity, resulting in witnesses believing they've seen or heard the actual person, before the person physically arrives. This bears a subtle difference from a doppelgänger, with a less sinister connotation. It has been likened to being a phantom double, or form of bilocation.
Excerpt from www.artintheopen.ca/explore#sdf:
The downtown's latest mural, located across from Mahtay Cafe on Garden Park Street, depicts three young women on their cellphones; together, but still separate. It's an increasingly -- and worryingly -- common sight, which is why the artist chose it as the subject for his multi-story mural. "I don't want to criticize anything," said Barcelona-based muralist Jupiterfab. "I just want to make people reflect about it." The mural is accompanied by the question "IS THIS MODERN SOCIETY?". To Jupiterfab, the idea of mobile phones and other modern technology changing the way we interact with others -- googling directions instead of asking for them, looking at your phone instead of those around you -- is a social topic worthy of reflection. “We use phones, and other technologies, it’s part of the evolution of our society, and it’s good, but I just want to make people reflect about the abuse of these things," said Jupiterfab. On his Indiegogo page for the piece, the artist stated that the mural is "about mobile phone addiction and the way we live a virtual life instead of the real one". "I'm going to represent a group of people, standing together, but instead of interacting between each other and chatting and laughing, they're going to stay watching their own mobile phone and playing with it," he said. Jupiterfab's mural was commissioned by local business owner John Fulton, of Fulton Fitness, as a part of the Niagara International Mural Festival (NIMF). Founded by Fulton 15 years ago as an informal "graffiti jam" event, there was a reaction to how local street artists were being marginalized in the community. Graffiti has always carried a negative connotation, and Fulton knew that by sanctioning the art, it could help to legitimize its presence in the local community. "I went about organizing the local building owners, and one guy who probably owned half the properties down the alley at the time said ‘I’m not on board unless the police are on board’, so I went to the superintendent and he was like, ‘Last time I was out walking a beat, I had the same idea’," said Fulton. "So, our first piece was a promotion for the AIDS Walk [Walk For Life], and that kind of solidified it." So far self-funded and organized by Fulton, this year's festival was the first to feature international talent from Jupiterfab, with the help of local sponsors and support from Mahtay Cafe, Carlisle Suites, Loop Recycled Paint and the St. Catharines Downtown Association. “It’s grown from being hosted in just the alley there, to being all along Garden Park, and now we're down at the steps [beneath the Meridian Centre walkway] and on different walls on St. Paul, and hopefully soon outside of the region,” said Fulton. "The event really is year-long, because people come to see it year round, and we get lots of art tourists through." “What I like [about muralism] is that the target of your communication is different, because if you have an exhibition, who can you reach?" said Jupiterfab. "The people you can reach is a small amount of people, but when you paint a mural, it’s for everybody. I just want people to stop, even for five seconds, and make them reflect and see things from a different angle." St. Catharines' downtown has always been full of street art and downtown murals, but thanks to organized efforts like the NIMF, it's becoming a more intentional, representative part of the downtown visage. What was once considered vandalism around the world has grown into a valued subculture of modern art thanks to big names like Banksy, Jupiterfab, and our own local talent like Heccho, and Runt. With its ever-growing gallery of new sights, tastes, and experiences, the downtown has never given more reason to look up from your phone. For the next year, passers-by, gym-goers and Mahtay patrons can enjoy Jupiterfab's work before a new mural takes its place at next year's bigger and better NIMF.
An albino doberman - surrendered at the shelter decided to help out with adoptions...
On a more serious note, please note a comment from Wakethesun:
"this poor pup was the result of a backyard breeder trying to make some quick money. All albino dobermans can trace their genes back to one dog, who herself was the product of a backyard breeding. Since then people have continued to exploit them, selling them as a rare color and insisting they're white, not albino to avoid the health connotations that come with albinism. The gene for albinism isn't even found in properly bred show/working dobies. They have a plethora of health problems that are unavoidable."
Simplicity - not a negative connotation - and in this case, powerfully emanates beauty and elegance.
In architecture, a folly is a building constructed primarily for decoration, but suggesting through its appearance some other purpose, or of such extravagant appearance that it transcends the range of garden ornaments usually associated with the class of buildings to which it belongs.
In English, the term began as "a popular name for any costly structure considered to have shown folly in the builder", the OED's definition, and were often named after the individual who commissioned or designed the project. The connotations of silliness or madness in this definition is in accord with the general meaning of the French word "folie"; however, another older meaning of this word is "delight" or "favourite abode".
- from Wikipedia entry for folly
Wearing:
pose . Copa Cabana / by NANTRA @ The Liaison Collaborative
accessories . Adva set / by Zibska @ We Love Roleplay
skin . [G3] Jalyn UV (BoM) / by Soul @ We Love Roleplay
tattoo . Simulation (BoM) / by Nefekalum
eyes . Plasmatica - Ultra (BoM) / by The Stringer Mausoleum
pasties & thong . from Dripping In Luxury / by Moon Elixir x MUSE
head . Nova / by Lelutka
body . Freya / by Belleza
hands . Female Dynamic Hands / by Slink
backdrop . Edge Walls / by Strange Merchant
windlight . Mystical 20 / by Polyhistor Serpente
✭ CIRCA ✭ Dotty's Secret ✭ Dimma ✭ {Frick} ✭ Lovely Alien ✭
✭ NANTRA ✭ Nefekalum ✭ Soul ✭ TSM ✭ Zibska ✭
Image taken in the virtual platform of Second Life (tm)
Now history with bizarre connotations, the Pearl Square was one of the symbols of Bahrain. The structure with six legs and a sphere on the top represented the six GCC - Gulf Cooperation Countries, Saudi Arabia, Kuwait, Bahrain, Qatar, the United Arab Emirates and Oman. The sphere was the symbol for pearl Bahrain was once famous for. The square was made the place for congregation and demonstrations during the 2011 social unrest and was made an alternative symbol for the anti-government uprisal. After events soothed several months later with tens of casualties on both sides, the government demolished the structure. Ironically, Qatar which was represented by one of the six legs was targeted by three other members of the GCC and faced severing of the ties and sanctions imposed by Saudi Arabia, Bahrain, and the UAE.
Khalil Chishtree’s installation of ethereal life-sized figures offers an upbeat and humanitarian take on plastic pollution and our threatened ecosystem. Chishtree wields one of the most ordinary and ubiquitous materials of our era, the plastic bag, to explore both the material’s possibilities and connotations for the well-being of the human race. Realizing only one figure in its entirety, and leaving the others incomplete, Chishtree accentuates the importance of progress and change as we encounter the challenges of that plastic pollution has wrought on our land and oceans. We greet his figures holding hands in a circle facing towards us in an expression of mutual support and empathy. Composed entirely of white plastic garbage bags, their material denotes man’s responsibility to the environment, and the need to act together towards a cleaner ecosystem.
Between 1565 and 1765 the current Plaza del Teatro was the “Plazuela de las Carnicerías”, plot and yard of the butcher shops with irregular shape, surrounded by two-story houses with a tiled roof. Bullfights were held from 1670 to 1672, every Saturday. Later its use is consolidated and in 1786 it becomes exclusively “Bullring”.
At the time of President Gabriel García Moreno (1860), Quito becomes more dynamic and organized. The State promotes public projects of neoclassical court of French, German or Italian affiliation, which symbolized and reinforced their own power. The new thought and the post-independence movements, raised the idea of abandoning those practices of popular patron celebrations such as "bullfights" and implementing the theater and other forms of expression of a secular nature. In 1867, the Congress forbids them and the Plaza de Las Carnicerías was converted into a theater space. In 1879, the same site for the construction of the theater is arranged, so the front space of the slaughterhouse adopted the name of Theater Square.
The government of Ignacio de Veintimilla in 1877 ceded the house and plot to the private society called "The Civilization" for the construction of the theater. The German architect Francisco Schmit was the one who designed the project and the Quito businessman Leopoldo Fernández Salvador built the “National Theater”, which would later incorporate the name of Sucre in honor of the hero of Pichincha, apparently on the initiative of Marieta de Veintimilla, the Famous niece of the magistrate. The work concludes in mid-1886.
On November 25, 1886 at half past eight in the evening the stage was inaugurated with the presentation of the famous Parisian pianist Captain Voyer, the Artillery Band and the singers Baldassari and Aymo de la Torre participated, who performed the National Anthem, with the accompaniment of the National Orchestra conducted by Aparicio Córdova.
It is clear that the theatrical activity of this era would have liberal progressive connotations, and its style of construction confirms the premise at the Latin American level: neoclassicism is the official architecture of liberalism. The National Theater Sucre thus became the symbol of the progress and civilization of the city.
The first national theater art company that was presented at the Theater was the Fernández-Vireli Dramatic Company. It was first used for cinema in 1901. Since its opening a sporadic use, in its first 50 years of life there are two or three annual shows, and its use was for end-of-year functions of schools and colleges, for society dances (carnival parties and marriages), the theater was rented privately for parties, commemorations and publicly provided for schools and colleges.
The National Theater Sucre was intervened in innumerable occasions to avoid, as far as possible, its deterioration. The roof, the floor of the stalls are changed and the main facade is decorated with relief of "Orpheus and the Nine Muses".
In 1922 works were carried out in basic infrastructure and new bases were built in structural iron and reinforced concrete, valuable actions to rescue the colossus of the square.
168 Viennese chairs are added and the statue of Antonio José de Sucre is incorporated among the intercolumnies of the main entrance. The exterior roof of the stage was modified and the wooden pillars that supported the scenographic machinery were replaced. Between 1948 and 1952 the stalls were expanded, a new floor was built on the level of the boxes, forming the gallery, the mouth of the stage was modified and the dressing rooms were built behind the scenes.
These adjustments suffered the onslaught of time and the intense flow of underground water that deteriorated the main bases and structures of the theater, leaving it in a sad state of deterioration.
Between 1980 and 1994, after several failed attempts to make an in-depth intervention of the Sucre National Theater, in 1998 the Municipality of Quito, through the Quito Cultural Heritage Rescue Fund, FONSAL, had to intervene in aid of this magnificent building, retaking and reorienting the intervention that was completed in November 2003.
Street Performer.
Verstrengeling van artistieke werken Wanhopige werken nieuwigheid verbeelding vreemd leven stedelijke onderwereld verkenningen voorbij donkere kunst,
trasformando strade in aumento ombre espressioni in aumento gridando proteste rivoluzione partecipazioni che fanno eco valori corrispondenti confronti,
des oppositions intenses connotations sombres pressions des ordres publics des tensions croissantes concurrence consciente conflits traditionnels costumes célèbres,
unge unntak litterære visjoner forhåndsinnstilte festivaler forsterket bevegelsesbeskrivelser impulser dødelige attraksjoner ukonvensjonelle trekk,
libertate adânci grupuri sociale schimbări istorice libertate râzând scena conexiuni enorme scene îmbunătățind termeni casual poveste scrupuloasă,
бедность голод независимый отказ от багажа сложные фантастические драмы преобладающие кусочки, охватывающие фантазера мечтатели искусства ускорения смерти,
ブルジョアの人生スリリングな外部の生活駆け出しの機能駆け出しの機能は、アイデアを拒否します感情的な疑いは、社会を支配する夜を苦しめました急進的な傾向リベラルアーツ.
Steve.D.Hammond.
Built out of earth and around fifty local sarsen-stone megaliths, the long barrow consisted of a sub-rectangular earthen tumulus enclosed by kerb-stones. Within the eastern end of the tumulus was a stone chamber, into which human remains were deposited on at least two separate occasions during the Early Neolithic. Osteoarchaeological analysis of these remains has shown them to be those of at least seventeen individuals, a mixture of men, women, and children. At least one of the bodies had been dismembered before burial, potentially reflecting a funerary tradition of excarnation and secondary burial. As with other barrows, Coldrum has been interpreted as a tomb to house the remains of the dead, perhaps as part of a belief system involving ancestor veneration, although archaeologists have suggested that it may also have had further religious, ritual, and cultural connotations and uses.
After the Early Neolithic, the long barrow fell into a state of ruined dilapidation, perhaps experiencing deliberate destruction in the Late Medieval period, either by Christian iconoclasts or treasure hunters. In local folklore, the site became associated with the burial of a prince and the countless stones motif.
I LOVE striped fabric, especially when you have an interestingly cut design - the stripes are great for showing it off. Stripes were really popular in the eighteenth century, especially towards the end of the century after the French Revolution. Stripes have always had connotations of boldness and daring, a willingness to test the boundaries of social tolerance, so post- revolutionary society probably used them to signal their non-conformism.
Sometimes it seems that a few decades correspond to centuries of social evolution. I felt something like this when visiting "Manifesta 8", a contemporary art biennial, I came across the installation that we can see in this image -I'm very sorry I don't remember the author's name-. Minimalist but extremely synthetic and expressive. Suddenly it was combined with numerous images that my memories recovered from my childhood and adolescence, several decades ago. They were familiar and foreign at the same time and, above all, contradictory in the current times. Society must have changed a lot when, observing the scene closely, I realized that it had been a long time since I had witnessed this type of composition in my daily life. In the past, in workshops, trucks, factories, and men's workplaces it was common to find posters or calendars - Pirelli, of course - with female nudes next to clothing and work tools. An entire iconography that places us in front of the current situation. The influence of context on the interpretation of images is evident, depending on whether we view them in an art gallery or museum, or in another place separate from them. Connotations, as always, are important.
Canon EOS 6D - f/18 - 1/3 sec - 100mm - ISO 200
- for challenge Flickr group Macro Mondays,
theme: On a Coin
- coin: France, 50 Francs, 1952, diameter 27mm
- subject: the cock (rooster) is a Venetian glass souvenir
- NB: A rooster, also known as a cockerel or cock, is a male gallinaceous bird, with cockerel being younger and rooster being an adult male chicken (Gallus gallus domesticus).
The term "rooster" originated in the United States as a puritan euphemism to avoid the sexual connotation of the original English "cock", and is widely used throughout North America.
- The Cock (US: Rooster), a Christian symbol of vigilance since the New Testament story of the Passion, has long been part of French national culture, largely because the Latin words for cock and inhabitant of Gaul are similar (Gallus v gallicus).
In the Middle Ages it was widely depicted in French churches and is recorded in 14th century Germany in references to France. Chaucer's vain, foolish and boastful character Chantecleer in the Canterbury Tales may have been recognised by his readership as refering to the French national character.
From the 16th century onwards representations of a cockerel occasionally accompanied the King of France on coins - it appears on the coins struck under both the Valois and Bourbon kings.
The French Revolution gave wider currency to the emblem: it appeared on the Seal of the Premier Consul, and surmounted the staff carried by the allegorical figure of Fraternité. It was an official emblem under the July Monarchy and the Second Republic when it was used on the poles of regimental flags.
Napoleon was not so keen on it. When a commission of Councillors of State proposed it as an emblem of France, the Emperor rejected it on the grounds that: "the cockerel has no strength; in no way can it stand as the image of an empire such as France." He replaced it by a more appropriate eagle. It returned to favour from 1830 onwards.
Under an an ordinance of July 30, 1830, the Gallic cock figured on the buttons of the uniforms of the National Guard and surmounted their colours. It replaced the fleur-de-lis as the national emblem. In 1848 it featured on the the Great Seal of France (The Official Seal of the French Republic) - as it still does - depicted on a ship's rudder next to the figure of Liberty.
The company J M Smucker Company was founded in 1897 and its first product was apple butter. In the 1950's they adopted the slogan "With a name like Smuckers, It's got to be good" It referred to the unusual family name, Smucker, with the connotation that since it was such an odd name, the company had better produce outstanding products. As the company's reputation grew and the name Smucker became associated with high-quality products.
John ,lo chiamavano gli amici...
Giovanni Bonfanti non era nuovo ad idee stravaganti , ma quella di lasciare gli studi a pochi mesi dalla laurea fu la più folle .
lei , Hanna lee era molto più grande.. mezza Danese e mezza Cherokee
incarnava il carattere del nonno ,tanto legato alle tradizioni quanto passionale ed imprevedibile come un purosangue ...
i primi anni l'energia era esplosiva , tutto aveva un aspetto psichedelico ..
la gente accorreva ...
la fazenda era diventata il quarto polo magnetico terrestre..
tequila e peyote ...
bom bom.. le notti si infiammavano ...
certo...il mescal..
il pane degli Dei
aveva perso quella sua connotazione religiosa ..
negli ultimi tempi...
lo spirito degli avi aveva smesso di vegliare su Hanna e John ..
John, friends called him ...
Giovanni Bonfanti was no stranger to extravagant ideas, but leaving his studies a few months before graduation was the craziest thing.
she, Hanna Lee, was much older ... half Danish and half Cherokee
he embodied the character of his grandfather, tied to traditions, passionate and unpredictable like a thoroughbred ...
the first few years the energy was explosive ,everything had a psychedelic aspect ..
people flocked ...
the fazenda had become the fourth magnetic pole of the earth ..
tequila and peyote ...
bom bom .. the nights were on fire ...
sure ... mescal ..
the bread of the gods
it had lost its religious connotation ..
recently...
the spirit of the ancestors had stopped watching over Hanna and John ..