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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 ..
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.
The emblem of Lanyang Museum attempts to convey “The Harmony and Symbiosis between Mankind and Nature” and “Association between Mankind and History”. During initial stages of design, discussions were made among experts in museology, literature and history, natural ecology, local painters, CIS designers and dignitaries in the County before the decision was made to adopt the traditional wooden sculpture human-figure totem from the Kavalan Tribe, which most aptly expresses the above-mentioned connotations. Furthermore, the Lanyang Museum emblem also implies another meaning: countless people from all over Taiwan “selflessly contributed their efforts to make the creation of the museum possible.” Within such a small human-figure totem, it also conceals the profound respect towards them.
Ruling Rudder.
Композитор оперы переплетен символами заманчивой техники поэтической обстановки великолепного вдохновения невероятных энергий сельских пейзажей,
aggressives Blut schmutzig flache Begriffe Exkremente Arbeiten versagt Sensesammlungen unter Variationen bestimmten Stimulus nicht anerkannten Jahren,
Romantiques mers vives dirigeant des doutes imagerie saisonnière présageant des ordres lignes d'hiver connotations religieuses démonstrations inchoates,
la realtà privata trascende le strutture terrestri che possiedono viaggi importanti concentrando serate selvagge e future spingendo le porte agli occhi del letame,
odit animam exhalat visa tanta ferocia deliciarum suarum arcana scrutari statera halitus effluens acus summa legum plurimum,
突出した鳴き声のローマー無音風のない流れ流れる電流不死の内容影響を受けやすい知恵奇跡上昇の限界南の喜びを適切に切り裂くところで.
Steve.D.Hammond.
The Last Supper is a fresco by the Italian Renaissance painters Cosimo Rosselli and Biagio d'Antonio. Created during the years 1481–1482, it is located in the Sistine Chapel in Rome.
On 27 October 1480 Rosselli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.
The theme of the decoration was a parallel between the stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament, as well as between the divine law of the Tables and the message of Jesus, who had chosen Peter (the first alleged bishop of Rome) as his successor: This would finally result in a legitimation of the latter's successors, the popes of Rome.
Due to the commission's size, the artists brought with them numerous assistants. Rosselli brought his son-in-law Piero di Cosimo. According to the Renaissance art historian Giorgio Vasari, Rosselli was considered one of the less gifted among the painters at the Sistine Chapel, and his paintings in the chapel were the subject of the other artists' irony. However, his sheer adoption of brilliant colors granted him the appreciation of the pope, who apparently, was not considered an art expert.
The scene is part of the Stories of Jesus cycle and, like the others, shows more than one episode at the same time. The frieze has the inscription REPLICATIO LEGIS EVANGELICAE A CHRISTO ('Repetition of the Evangelical Law by Christ'). The supper is set in a semi-circular apse, with a horseshoe-shaped table at whose center sits Jesus, the apostles at his side. Judas, as usual, is depicted on the side, from behind; the fighting cat and dog are elements which further stress his negative connotation. The scene shows the moment immediately after Jesus' annunciation that one apostle would betray him. His hearers' reactions include touching their own chests, or muttering to each other.
The table has no meals, but a single chalice in front of Jesus; some gilded or silvered kitchenware is shown in the foreground, an example of still life inspired by contemporary Flemish painting and widespread in Florentine art at the time. At the sides, are two couples of figures dressing rich garments. Another dog is jumping on the left.
Within the three windows behind the table are three scenes of the Passion: the Prayer at Gethsemane, the Arrest of Jesus and the Crucifixion. These are attributed by some authorities to Biagio d'Antonio. Perugino used the same panel-within-a-panel effect in his later Last Supper.
La capilla del Condestable o capilla de los Condestables es la denominación habitual de una de las capillas de la catedral de Burgos, (España), aunque su verdadera advocación es Capilla de la Purificación de la Virgen.
Es una capilla funeraria de planta centralizada, levantada en la girola de la catedral, en estilo Gótico flamígero y un incipiente Renacimiento.
Fue mandada construir por don Pedro Fernández de Velasco y Manrique de Lara, condestable de Castilla, y doña Mencía de Mendoza y Figueroa, hija del Marqués de Santillana y hermana del Cardenal Mendoza, que dirigió los trabajos durante las ausencias de su marido. La ejecución del proyecto corrió a cargo del artista burgalés Simón de Colonia, entre 1482 y 1494.
es.wikipedia.org/wiki/Capilla_del_Condestable_(catedral_de_Burgos)
The Chapel of the Constable or Chapel of the Constables is the usual name for one of the chapels of the cathedral of Burgos, (Spain), although its true dedication is Chapel of the Purification of the Virgin.
It is a funerary chapel with a centralized plan, built in the ambulatory of the cathedral, in flamboyant Gothic style and an incipient Renaissance.
It was ordered to be built by Don Pedro Fernández de Velasco and Manrique de Lara, Constable of Castile, and Mrs. Mencía de Mendoza y Figueroa, daughter of the Marquis of Santillana and sister of Cardinal Mendoza, who directed the works during the absences of her husband. The project was carried out by the Burgos artist Simón de Colonia, between 1482 and 1494.
Condestable de Castilla fue un título de condestable creado por el rey Juan I de Castilla para sustituir al de Alférez mayor del Reino. En él recaía el mando supremo del ejército y tenía el derecho de llevar pendón, mazas y rey de armas. El condestable era el máximo representante del rey en ausencia del mismo.
El 6 de julio de 1382 Juan I concedió el título a Alfonso de Aragón el Viejo, primer marqués de Villena, teniendo carácter vitalicio pero no hereditario. Este tipo de transmisión se llevaría a cabo hasta 1473, cuando Enrique IV nombra condestable a Pedro Fernández de Velasco, a partir del cual el título se haría hereditario.
es.wikipedia.org/wiki/Condestable_de_Castilla
Constable of Castile (Spanish: Condestable de Castilla) was a title created by John I, King of Castile in 1382, to substitute the title Alférez Mayor del Reino. The constable was the second person in power in the kingdom, after the King, and his responsibility was to command the military in the absence of the ruler.
In 1473 Henry IV of Castile made the title hereditary for the Velasco family and the dukes of Frías. After these changes, the title ceased to have any military or administrative connotations, and was simply an honorific title.
Obviously many 'western' images of African people are directly connected to exploitation and slavery. But it is often forgotten that there's also an idealist ideology that sees non-Europeans as good and free and noble, indeed as exemplary. This photo is part of the latter tradition. The insets provide some background.
In 1610 one Barthelomeus Moor (1573-1636) bought a piece of land on what is now the Rokin in Amsterdam and built a house there; the pictured decorative statement was probably added later in the style of Louis XIV. He'd been born in Antwerp and was one of many merchants, often Calvinist, who fled the southern Low Countries in the wake of their fall to the Catholic Habsburgs and the onset of religious persecution. They found religious freedom and independence from monarchy in the Dutch Republic. Around 1600 Antwerp's population had diminshed from about 100,000 to a mere 42,000, and something like 30% of the population of Amsterdam was made up of Flemish Dutchmen. Many of these immigrants were merchant families soon to become wealthy in the prospering northern Low Countries.
No doubt, the choice of Moor or his family for this sculpture was motivated by the meaning of his family name. But added to that are the connotations of freedom, independence and desire for trade imputed to non-Europeans exemplified by that self-conscious, proud 'Moor'. He could well be a Carib or else maybe a Guinean. The inset top right is after a drawing by John Gabriël Stedman (1744-1797) of a Carib family. The one on the left is in the first book on African Guinea (more or less present-day Ghana) by Pieter de Maarees around 1602. It depicts Dutch (?) and African merchants and traders. Note the similarity in head dresses of the 'Guineans', the Carib and our 'Moor'.
Sergiyev Posad
is a city and the administrative center of Sergiyevo-Posadsky District of Moscow Oblast, Russia.
It grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh.
The town status was granted to it in 1742.
As the town's name, alluding to St. Sergius, had strong religious connotations, the Soviet authorities changed first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Zagorsky.
@Wikipedia
alles-schallundrauch.blogspot.com/2011/07/die-verschuldun...
For the ODC challenge "Shadow" I drew inspiration from a playing card from the wonderfully imaginative storytelling game Dixit.
I titled this image "paranoia", but the concept of it got me thinking about fear and the role it plays in our lives.
Sadly, the ugly business of politics often trades in fear. Fear of what we do not know or fully understand is shaped into powerful narratives that portray certain groups as enemies, dividing us.
However, fear can also play a very healthy and productive role in our lives, like our collective response to the Coronavirus, which not only helps keep us safe but ultimately saves lives.
In fact, fear of our natural predators and other things that might kill us has played a vital role in human evolution through the process of natural selection for millennia.
So, while in this case the portrayal of paranoia is one of fear's negative connotations, fear, like most everything else in life, is what we make of it.
When weaponized, it can destroy us, but when we face and confront our fears, we learn and grow and become stronger.
Blaues Wunder ist der inoffizielle Name der Loschwitzer Brücke, eine der in Dresden über die Elbe führenden Brücken. Sie verbindet die Stadtteile Blasewitz am linken und Loschwitz am rechten Ufer miteinander.
Die Brücke wurde 1893 als fünfte Elbbrücke im Dresdner Raum (heute die oberste im Stadtgebiet) fertiggestellt und gilt als ein Wahrzeichen der Stadt.
Für weitere Informationen folge diesem Link
Loschwitz Bridge (Loschwitzer Brücke) is a cantilever truss bridge over the river Elbe in Dresden the capital of Saxony in Germany. It connects the city districts of Blasewitz and Loschwitz, two affluent residential areas, which around 1900 were amongst the most expensive in Europe. It is located close to Standseilbahn Dresden funicular railway and the world's oldest suspension railway Schwebebahn Dresden, as well as near the Dresden TV tower. The bridge is colloquially referred to as Blaues Wunder ("Blue Wonder"). This common name purportedly referred to the bridge's original blue colour and being seen as a technological miracle at the time; it is also understood to carry the cynical connotation referencing the German idiom ein blaues Wunder erleben meaning "to experience an unpleasant surprise" (literally: "to experience a blue wonder"), reflecting the skeptical view of contemporary commentators.
For more information please refer to en.wikipedia.org/wiki/Loschwitz_Bridge
Dresden_2020_099
You can't beat a good sunset can you (hopefully you agree this ain't half bad). Question is does this one have religious connotations or Extra-terrestrial ones ?
Explore 368 : 15/12/08
Everyone, meet Francis Richard Henry Penn Curzon, 5th Earl Howe, or for short, Earl Howe. If you're English, it's likely you know who he is, but for others, he's one of the coolest racing drivers you've never heard of.
Howe was born to British nobility in 1884, but his racing career didn't begin in earnest until 1929 at age 44. His life before racing was interesting too—educated at Eton, Christ Church and Oxford (as you'd expect with any nobleman worth his salt), he served as a Naval Officer in World War I, and held office as a Member of Parliament from 1918 to 1929.
Per a profile in Hemmings, Howe ran his first race in 1928 (at age 44!) and left Parliament in 1929, the first year he entered the 24 Hours of Le Mans. Finishing 5th over all in 1930 in an Alfa 6-C Sport, Howe's Le Mans victory came in 1931, behind the wheel of an Alfa Romeo 8C 2300 LM he shared with Sir Henry "Tim" Birkin, one of the famous "Bentley Boys." His Le Mans victory was quite a feat because the straight-eight in his Alfa required an engine rebuild that wasn't completed until 5:30 a.m. on race day.
Later in 1931, he won the Grand Prix at Dieppe in France driving a Delage that he later "wrapped around a tree" at Monza, according to Motorsport Magazine. Howe was actually somewhat infamous for wrecking often, though not much prevented him from getting back on track. He suffered a serious accident at Brooklands in 1937 but was back a year later, whipping around at 108 mph on the circuit's incredibly steep banking. One of the first racers to use a 'crash helmet', it saved his life at least 3 times
Howe's career as a racing driver ended around the start of World War II, that he re-entered as a full Commodore, but after the war he remained an important champion of motorsports. He was president of the British Racing Driver's Club (BRDC) from 1929 until his death in 1964.
To this day, the BRDC gives out the Earl Howe Trophy "for the British driver delivering the most meritorious performance of the year in North America." Currently, the trophy is held by Richard Westbrook, whodrives a Ford GT for Chip Ganassi Racing.
You could say his story is stereotypically British in the worst way–guy from extremely wealthy family goes racing–but that really doesn't take away from his accomplishments. Could you imagine a current MP quitting their job and winning Le Mans within three years? He is the definition of the term "Gentleman Racer," and while that phrase has many negative connotations today, it feels like an honor for Howe.
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
Il 21 aprile 753 a.C. Romolo uccide Remo e fonda la città di Roma. La data è così importante da diventare l’inizio della cronologia romana: viene fissata dall'astrologo Lucio Taruzio. Il primo a far celebrare l'anniversario di Roma nel 47, ottocento anni dopo la presunta data della fondazione, è l’imperatore Claudio.
Il compleanno di Roma viene ufficializzato nel 1870 quando per la prima volta fu istituita come festa per tutto il Paese. Con il passare degli anni assume una connotazione simbolica, una sorta di sacralità del culto di Roma rimettendo nuovamente in risalto la grandezza della città. Durante il periodo fascista Benito Mussolini la trasforma nella festa dei lavoratori per celebrare la romanità e per far dimenticare alla popolazione la festa del primo maggio. Caduto il regime, il 21 Aprile torna a essere un giorno come gli altri, non per i romani, ovviamente.
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On April 21, 753 BC Romulus kills Remo and founds the city of Rome. The date is so important to become the beginning of the Roman chronology: it is fixed by the astrologer Lucio Taruzio. The first to celebrate the anniversary of Rome in 47, eight hundred years after the alleged date of the foundation, is Emperor Claudio.
Rome's birthday is officially formalized in 1870 when it was first set up as a party throughout the country. With the passing of the years it assumes a symbolic connotation, a sort of sacredness of the cult of Rome, once again highlighting the grandeur of the city. During the fascist period Benito Mussolini transforms it into the workers' party to celebrate Romanism and to make the people of the first May celebrate. Once the regime collapsed, April 21 returns to be a day like the others, not to the Romans, of course.
I don't consider myself a photographer; neither by profession nor by passion. I let the automation do way too much of the work for that. Even less still, I see myself as an "artist". In fact, that word has a strong negative connotation in my mind, and it's only been growing stronger over the last few years. "Yeah, AI might destroy humanity as we know it, but you know what's even worse? It could steal my art. MY ART, Sacrebleu!" They don't put it like that of course, but that's what it comes down to. Always makes me cringe. If nothing else, then because I'm absolutely certain they talked the same way about the first photo cameras, the first video cameras, then color film, Photoshop, the internet... you get the point. If that's the perspective you chose, then it's been a steady decline that's been going on for centuries. I guess it's no wonder then this type of "artist" tends to be fairly miserable, all things considered. Does their art not have a message they want to convey? Don't they want that message to spread? Only secondary to making money, getting credit?
What I am instead, (if a classification is really that necessary) I couldn't tell with too much detail. The vanguard sent out ahead of the main invasion of the aliens? Checking the air and noting down coordinates where the bomber squads will have to strike hardest and where not so much? Something like that? In any case, I'm fine with calling myself an observer, a reporter, a surveyor, on a perpetual search of scenes to illustrate his findings. Either findings already made, or yet to be discovered. Everything is a metaphor, sometimes for many different things, and rarely for itself. A chair is never just a chair, I just don't know what else it is right away. Roaming the surrounding world is a means to overcome writer's block, to refuel on inspiration. Taking pictures forces me to take a look at the world. If a picture happens to look nice enough that I consider publishing it and spew a bit of woo-woo along with it, that's an added bonus.
The Arabian Safari ended with a night to remember - wonderful Arabic feast under the stars. Slow cooked lamb, chicken kebabs, camel meat stew (quite delicious) - and this exhibition of a resplendently dressed Arab man making traditional bread (the modern watch does detract from the romantic connotation, but hey ho).
"La Catrina has become the referential image of Death in Mexico, it is common to see her embodied as part of the celebrations of Day of the Dead throughout the country; she has become a motive for the creation of handcrafts made from clay or other materials, her representations may vary, as well as the hat." – J.G. Posada
November 1 and 2 is the Mexican festival of the Day of the Dead (Día de Muertos). From the anthropological perspective it differs somewhat from the modern celebration of Halloween. Whereas Halloween is seen by most people as poking a bit of fun at the dark side of life, and certainly has no direct religious connotations (despite happening on the eve of the Christian feast of All Hallows or All Saints Day) - Día de Muertos is a completely different matter.
It does have a distinct fun element - otherwise I would not have done these shots out of respect - but it is a time when Mexican families can remember their dead loved ones and participate in rituals that go back to pre-Colombian times. Having studied anthropology, I naturally have a great interest in these festivities. In this particular case a representation of La Catrina appears holding a calavera (decorated skull).
en.wikipedia.org/wiki/La_Calavera_Catrina
The three photographs I have uploaded today were taken last year. The first two you will not have seen, and this one "La Catrina" is a re-edit of one I did post at this time in 2019. This photograph was all composed in one 8 second take. It is not two superimposed images.
I love the fragile filaments upholding yellow orange pollen covered stamens. The leaves form a perfect cup for accumulating water drops. And the purple surrounding edges. A simple groundcover that is simply beatutiful.
Tradescantia pallida is a species of spiderwort commonly known as Wandering Jew, though it cannot be said when, where, or by whom it was first called this. But, considering the term's negative connotation, it would be safe to assume the originator's intent was not to highlight the plant's more favorable qualities. Other common names include Purple Heart and Purple Queen.
T. pallida can be primarily described as an evergreen scrambling perennial plant distinguished by elongated, pointed leaves - themselves glaucous green, fringed with red or purple - and bearing small, sterile three-petaled flowers of white, pink or purple.
Widely used as an ornamental plant in gardens and borders as a ground cover, hanging plant, or - particularly in colder climates where it cannot survive the winter season - houseplant, it is propagated easily by cuttings (the stems are visibly segmented and roots will frequently grow from the joints). It is shade-tolerant and can thrive in a wide range of soil conditions where it has not been intentionally cultivated and carefully maintained. In areas throughout the southern United States and Australia, it is considered an invasive weed and has defied many attempts at control or eradication.
As a houseplant, T. pallida is exceptionally effective at improving indoor air quality by filtering out Volatile Organic Compounds, a class of common pollutants and respiratory irritants, via a process known as phytoremediation.
Tradescantia pallida, Wandering Jew, Purple Heart, Purple Queen
Fairchild Tropical Botanic Garden, Miami FL
In colour connotations:
RED represents Passion, strength, energy, love, excitement, speed, heat, leadership, masculinity, power...
these are all my blessings to you @
I have reserved a table for you in this restaurant, wowww....
Monday to Friday's main course is "RED Fantasy",
Saturday to Sunday's main course is "Green Symphony",
Green represents Peace, Tranquility, Harmony, Relaxation, Family, Nature..... (thank you my friend Ollie_57 for this inspiration)
main course is unlimited re-filling for you, as my dear friend,
so you can bring unlimted friends to be here@
In Kyoto, for the new year ceremonies at shinto shrine Yasaka-jinja a geisha (japanese dancing girl) from Gion is dressed in the full dance costume, usually worn by maiko (apprentice geisha).
She wears a momoware (split peach) hairstyle including a red silk ribbon in the chignon (mage) and floral hair decorations (kanzashi).
The collar of her kimono is very low, showing the nape of the neck (unaji). In traditional Japanese clothing it was one of the few areas of the body left uncovered by women's attire and held a strong sensual connotation. The white make-up left two unwhitened areas forming a "W" shape on the nape to accentuate this traditionally erotic area, and a line of bare skin around the hairline.
Geisha of Kyoto are also called geiko.
my website : claudeestebe.com/
(c) Claude Estèbe
Sunny Bay is an MTR station in Yam O (陰澳). It is between Tung Chung and Tsing Yi stations. The station is an interchange station between the Tung Chung Line and the Disneyland Resort Line to Hong Kong Disneyland. The station was originally to be named Yam O (陰澳). Yam O was not used probably because of its ominous connotations (Cantonese Yam is more commonly known to English speakers as Mandarin yin, which means darkness or a negative quality).(en.wikipedia.org/wiki/Sunny_Bay_Station)
Softness vs. fragility. This is something I never understood the difference between until this point in my life. I always saw them as the same thing. If I wasn't hustling, trying my hardest, working myself to the extreme, then I felt fragile - weak.
I used to get told a lot that I'm fragile because of certain health problems that I have. For example, I have extreme sensitivity all over my body. Sometimes my friends would warn people not to hug me too hard because of it, and, lovingly, the word "fragile" would get used. "She's fragile," they would say, "be careful".
I started equating fragility for weakness then, in turn and over time, every word that didn't mean strength developed a negative connotation for me.
But this image, and this time in my life, is about softness. Being born again from the petals, letting my life adopt a more conscious and beautiful rhythm. In every action I choose I think about my health, my emotions, my wellbeing. And in those decisions, I see strength.
Life is so often about reframing what we thought we knew. Being reborn from petals over and over again. My wish for you is that, if you are in a time of rebirth, that you find softness in that transition.
--
"Reborn from Petals", self-portrait, April 2018
To see how this image was made, I made a permanent Instagram story collection: @brookeshaden
El símbol català més antic és l'escut de Catalunya que és un dels emblemes heràldics de més antiguitat d'Europa.
Segons la llegenda, data del segle IX i hom diu que els Quatre Pals (o quatre barres) foren el resultat de fer passar quatre dits de Carles el Calb, Carles II de "Francia Occidentalis", tacats de sang sobre l'escut d'or de Guifré el Pelós com a recompensa per haver lluitat valerosament contra els normands.
La Senyera, inspirada en l'escut, és potser el símbol de Catalunya més representatiu.
Aquest símbol s'afegeix a d'altres amb connotacions polítiques o reivindicatives, com la Diada Nacional de Catalunya.
Església del Monestir de Santes Creus (Alt Camp) CAT.
-----------------------------------------------
Coat of arms of Catalonia.
The oldest Catalan symbol is the coat of arms of Catalonia, which is one of the oldest heraldic emblems in Europe.
According to legend, it dates from the ninth century and it is said that the Four Sticks (or four bars) were the result of passing four fingers of Charles the Bald, Charles II of "Francia Occidentalis", stained with blood on the shield of gold of Guifré el Pelós as a reward for having fought valiantly against the Normans.
The Senyera, inspired by the coat of arms, is perhaps the most representative symbol of Catalonia.
This symbol is added to others with political or vindictive connotations, such as the National Day of Catalonia.
Church of the Monastery of Santes Creus (Alt Camp) CAT.
Aphrodisias (/æfrəˈdɪsiəs/;[1] Ancient Greek: Ἀφροδισιάς, romanized: Aphrodisiás) was a Hellenistic Greek city in the historic Caria cultural region of western Asia Minor, today's Anatolia in Turkey. It is located near the modern village of Geyre, about 100 km (62 mi) east/inland from the coast of the Aegean Sea, and 230 km (140 mi) southeast of İzmir.
Aphrodisias was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. According to the Suda, a Byzantine encyclopedic compilation, before the city became known as Aphrodisias (c. 3rd century BCE) it had three previous Greek names: Lelégōn Pólis (Λελέγων πόλις, "City of the Leleges"),[2] Megálē Pólis (Μεγάλη Πόλις, "Great City"), and Ninóē (Νινόη).[3]
Sometime before 640, in the Late Antique period when it was within the Byzantine Empire, the city was renamed Stauropolis (Σταυρούπολις, "City of the Cross").[4]
In 2017, it was inscribed on the UNESCO World Heritage Site list.[5]
History
Aphrodisias was the metropolis (provincial capital) of the region and Roman province of Caria.[6]
White and blue-grey Carian marble was extensively quarried from adjacent slopes in the Hellenistic and Roman periods, for building facades and sculptures.[citation needed] Marble sculptures and sculptors from Aphrodisias became famous in the Roman world. Many examples of statuary have been unearthed in Aphrodisias, and some representations of the Aphrodite of Aphrodisias also survive from other parts of the Roman world, as far afield as Pax Julia in Lusitania.[7]
The city had notable schools for sculpture, as well as philosophy, remaining a centre of paganism until the end of the 5th century.[6] It was destroyed by earthquake in the early 7th century, and never recovered its former prosperity, being reduced to a small fortified settlement on the site of the ancient theatre.[6] Around the same time, it was also renamed to Stauropolis (Greek: Σταυροῡπολις, "city of the Cross") to remove pagan connotations, but already by the 8th century it was known as Caria after the region, which later gave rise to its modern Turkish name, Geyre.[6][8] In Byzantine times, the city was the seat of a fiscal administrative unit (dioikesis).[8]
Aphrodisias was sacked again by the rebel Theodore Mankaphas in 1188, and then by the Seljuk Turks in 1197. It finally fell under Turkish control towards the end of the 13th century.[6]
Geological history
The site is in an earthquake zone and has suffered a great deal of damage at various times, especially in severe tremors of the 4th and 7th centuries.[citation needed] An added complication was that one of the 4th century earthquakes altered the water table, making parts of the town prone to flooding. Evidence can be seen of emergency plumbing installed to combat this problem.
The city of Aphrodisias never fully recovered from the 7th century earthquake, and fell into disrepair. Part of the town was covered by the modern village of Geyre; some of the cottages were removed in the 20th century to reveal the older city. A new Geyre has been built a short distance away.
Ecclesiastical history
Main article: Stauropolis (diocese)
Le Quien (Oriens christianus, I, 899–904) mentions twenty bishops of this see. In the 7th century Stauropolis had twenty-eight suffragan bishops and twenty-six at the beginning of the 10th century.
Stauropolis is also a Roman Catholic titular metropolitan see, under the name Stauropoli (Latin: Archidioecesis Stauropolitana).[9]
Buildings and structures
The monumental gateway or tetrapylon
Monumental gateway
A monumental gateway, or tetrapylon, stands at the end of a road that leads from the main north–south street of the town into a large forecourt in front of the Sanctuary of Aphrodite Aphrodisias. The gateway was built ca. AD 200.[citation needed]
Temple of Aphrodite
Main article: Sanctuary of Aphrodite Aphrodisias
The Temple of Aphrodite
The Temple of Aphrodite was a focal point of the town. The Aphrodisian sculptors became renowned and benefited from a plentiful supply of marble close at hand. The school of sculpture was very productive;[10] much of their work can be seen around the site and in the Aphrodisias Museum. Many full-length statues were discovered in the region of the agora, and trial and unfinished pieces pointing to a true school are in evidence. Sarcophagi were recovered in various locations, most frequently decorated with designs consisting of festoons and columns. Pilasters have been found showing what are described as "peopled scrolls" with figures of people, birds and animals entwined in acanthus leaves.
The character of the temple building was altered when it became a Christian basilica. The building is believed to have been dismantled in c. 481–484 by order of Emperor Zeno, because the temple had been the focus of Pagan Hellenic opposition against Zeno in Aphrodisias, in support of Illus, who had promised to restore Hellenic rites, which had been suppressed during the Persecution of pagans in the late Roman Empire, to the temples that were still standing.[11]
Bouleuterion
The Bouleuterion served as the meeting place of the city's administrative council (the Boule), and as a multi-purpose indoor theatre, concert hall and assembly space.
The Bouleuterion (council house), or Odeon, is centered on the north side of the North Agora. As it stands today, it consists of a semicircular auditorium fronted by a shallow stage structure about 46 m wide. The lower part of the auditorium survives intact, with nine rows of marble seats divided into five wedges by radial stairways. The seating of the upper part, amounting to an additional twelve rows, has collapsed together with its supporting vaults. The plan is an extremely open one, with numerous entrances at ground level and several stairways giving access to the upper rows of seats. A system of massive parallel buttresses shows that the building was originally vaulted. The auditorium would have been lighted by a series of tall, arched windows in the curved outer wall. Seating capacity is estimated at 1,750...Wikipedia
Or are you just a decoy dream in my head
Am I home or am I simply tumbling out alone
ummm so even though I put those lyrics with this, that's not really how I feel? lol sorry, sometimes my posts just are apart from how I'm feeling.
so,
I hope if I post a photo with a more negative connotation it doesn't discourage you, the viewer.
because I know I, at least, like pictures that are inspirational and happy :)
oookay end blabbering.
I had a good day, I'm in a play with lots of friends and we had rehearsal :)
I think this was inspired some by Kelly... she's amazing :)
ahh explored! :D #481
Okay, this has sooooo many non-social distancing connotations, but Molly just desired to feel sexy and seductive in her new dress. How does she look? Anyone wanting a dance with her?
Molly is wearing:
Mesh body: Maitreya Lara
Mesh head: LeLutka Greer
Hair: KUNI - Teresa
Dress: Mistique - Nyana ($25L 25L Tuesday)
Bracelet & Armband: Kibitz - Chara bangles
Location: Backdrop City
Wolf Mountain Overlook, Milepost 424.8 of the Blue Ridge Parkway. When the conditions of earth and sky come together just right, the wild beauty of this deep view is undeniable. Low clouds and a pass between mountains funnel sunlight directly into the scene here.
Wolves once thrived here… hence the name of the mountain. Supposedly, they were hunted to extinction by 1910, mostly by farmers with sheep and cattle. There’s also a determination that there are no big cats anywhere in North Carolina, especially by park officials here in the mountains. I’ve witnessed things, even here at this overlook, that has me wondering about such determinations.
Once, while going through IFR training with my ex-Air Force flight instructor, I discovered how such things relate to life overall. I’m ex-Air Force, too, the connotation being that we understand that humor and truth can be one and the same. I was going through a litany of his questions with both verbal and physical responses, and was doing well, when he hit me with this: “Let’s say you’re flying at night over unfamiliar territory and your engine just quits. What do you do? My thought was “eject!” What came out of my mouth was, “Trim the aircraft for best rate of glide and attempt restart.” He said, “Good answer, though your engine’s wrecked… no restart. What do you do?” His next words were sage advice: "If your engine’s kaput while you're flying at night, remember these two things: first, trim the aircraft for the best rate of glide and when you reach 500 feet AGL (above ground level), switch your landing lights on. Second, if you like what you see, leave them on." Remember that.
After attending the graduation of a friend at the Gordon-Conwell Theological Seminary commencement in Charlotte in 2012, I made a beeline straight for Black Balsam Knob, not far from this overlook. I made it just in time for a wonderful sunset. I just had to make the most of it... which pretty much guarantees a hike back in the dark from here. The problem was that I was dressed for graduation, not hiking, with hard sole shoes not for going up this place, much less down. This was 2012 and I had a flip phone that provided no light. I know this trail, however, and what to expect. I'm traipsing down the trail in darkness back at the tree line when what sounded like wolves started howling nearby, and I mean a bunch of them at differing levels. Coyotes tend to be solitary and their howl, which I hear quite often here in Durham, was nothing like what I heard at that moment. Now, that may not mean much to you, but that was the first time I'd heard them in concert... and close too. I had seen what appeared to be a wolfpack one night many years back about 80 miles from this spot as they crossed in front of me on the Blue Ridge Parkway at twilight... but that was from the safety of my car. The first animal stopped and stared toward me until the others crossed into a rise and were gone. Here, I'm on my own out in the open, a with bunch of wolf-like critters in close proximity, howling to beat the band, with campers' dogs howling in sympathetic vibration in the distance. They continued for likely only a minute as I just stood there in awe... I thought it was wonderful, though I also thought it was a little eerie when they stopped howling all at once. Perhaps they had a choir director... the silence afterward was what was unnerving to me. As a rule, I now keep a small, yet quite powerful flashlight in my camera backpack along with spare charged batteries... but thinking back about what my instructor advised, I wasn't so sure I wanted to see what it would illuminate. And I lived to tell the tale! Don't you just love happy endings?
By the way, I read a wildlife review from a New Jersey researcher who concluded coyote-wolf hybrids exist, and they behave more like wolves. I’m just stating the behavior I observed was more wolflike. I also saw what no doubt was a cougar at Doughton Park. I informed her that I was happily married. Take that, park rangers… ha!
From the description (taken in 2018):
Cornelia Parker RA.
8.2 x 9.4 x 7.2m
Courtesty the artist &
Frith Street Gallery, London.
Originally commissioned in 2016 by the Metropolitan Museum of Art for its roof garden, this work was first seen against New York's iconic skyline. Presented here in the Royal Academy's Annenberg Courtyard the structure is every bit as compeling & unsettling.
For Parker, the found object is key. Here she dismantled a traditional red barn & appropriated its components: the planks of the long sidings became the house's walls & its corrugated roof provided material for the roof tiles. The design is based on the house in Alfred Hithcocks's 1960 film Psycho, which in turn was modelled on a painting by Edward Hopper, House by the Railroad (1925). Hopper's painting was also a reference point for Parker who was drawn to its pared-back presentation & sense of eerie isolation.
Like Hitchcock's stage set, Parker's PsychoBarn is a facade, with the supporting framework left deliberately visible. The structures also share a slightly reduced scale & both these characteristics add to the illusionary effect. The combination of the red barn's symbolism, with all its connotations of rural idyll & wholesomeness, with the sinister psychological complexity of Hitchcock's house presents a series of deliberate paradoxes. The work's title references a term from developmental pschology - the "transitional object" - which refers to something which brings comfort, while being a substitute for reality.
Commisions for the Iris & Gerald B Cantor Roof Garden at The Metropolitan Museum of Art.
Nikon F4. AF Nikkor 14mm F2.8D lens. CineStill 50 35mm C41 film.
"Parting Ways:" The term parting ways often carries with it a negative connotation. But in this image, I could see the trail path parting the sea of yellow flowers, leading my eye to the grand mountain beyond, and inviting me to venture closer. I saw the clouds parting ways for the tiniest crescent moon to peek through. I saw the sun parting ways with us to make for a colorful ending to the day. In these instances, sometimes parting is not such sweet sorrow.
躺平、躺平主义是2021年开始在中国大陆流行的网络词语，指中国年轻群体中出现的“与其跟随社会期望坚持奋斗，不如选择‘躺平’，无欲无求”的处事态度。躺平的具体内涵包括“不买房、不买车、不谈恋爱、不结婚、不生娃、低水平消费”、“维持最低生存标准，拒绝成为资本家和中共赚钱的机器、被资本家和中共剥削的奴隶”[参1]。
在中国经济下滑及新冠疫情的背景下，躺平被视为中国年轻群体出于对现实环境的失望，对阶级固化、内卷化、中产阶级萎缩、在职贫穷、过劳等现象的回应。--- WikiPedia
----------------------------
Google translation:
Lie flat and Lie flat doctrine are online words that have become popular in mainland China since 2021. They refer to the attitude of "rather than following social expectations and persisting in struggling, it is better to choose to lie flat" and have no desires or demands" among young people in China. The specific connotations of lying flat include "not buying a house, not buying a car, not falling in love, not getting married, not having children, and low-level consumption", "maintaining the minimum standard of living, refusing to become a money-making machine for capitalists and the CCP, and being exploited by capitalists and the CCP." slaves” [cf. 1].
In the context of China's economic downturn and the COVID-19 pandemic, Lie Ping is seen as a response to phenomena such as class solidification, involution, shrinking middle class, working poverty, and overwork out of disappointment with the real environment among young Chinese groups.
Amsterdam - Reguliersbuurt
Punting, rather, being punted on the river Cam is one of the best ways to spend a rare fine summer day in Cambridge...
This is one of the most famous bridges of Cambridge - the bridge of sighs - named for the bridge of sighs in Venice, this one has less romantic connotations. Local folklore says that the name is derived from the sound of the sighs of students crossing the bridge on their way to and back from their examinations. I cannot say this is hard to believe.
Aphrodisias (/æfrəˈdɪsiəs/;[1] Ancient Greek: Ἀφροδισιάς, romanized: Aphrodisiás) was a Hellenistic Greek city in the historic Caria cultural region of western Asia Minor, today's Anatolia in Turkey. It is located near the modern village of Geyre, about 100 km (62 mi) east/inland from the coast of the Aegean Sea, and 230 km (140 mi) southeast of İzmir.
Aphrodisias was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. According to the Suda, a Byzantine encyclopedic compilation, before the city became known as Aphrodisias (c. 3rd century BCE) it had three previous Greek names: Lelégōn Pólis (Λελέγων πόλις, "City of the Leleges"),[2] Megálē Pólis (Μεγάλη Πόλις, "Great City"), and Ninóē (Νινόη).[3]
Sometime before 640, in the Late Antique period when it was within the Byzantine Empire, the city was renamed Stauropolis (Σταυρούπολις, "City of the Cross").[4]
In 2017, it was inscribed on the UNESCO World Heritage Site list.[5]
History
Aphrodisias was the metropolis (provincial capital) of the region and Roman province of Caria.[6]
White and blue-grey Carian marble was extensively quarried from adjacent slopes in the Hellenistic and Roman periods, for building facades and sculptures.[citation needed] Marble sculptures and sculptors from Aphrodisias became famous in the Roman world. Many examples of statuary have been unearthed in Aphrodisias, and some representations of the Aphrodite of Aphrodisias also survive from other parts of the Roman world, as far afield as Pax Julia in Lusitania.[7]
The city had notable schools for sculpture, as well as philosophy, remaining a centre of paganism until the end of the 5th century.[6] It was destroyed by earthquake in the early 7th century, and never recovered its former prosperity, being reduced to a small fortified settlement on the site of the ancient theatre.[6] Around the same time, it was also renamed to Stauropolis (Greek: Σταυροῡπολις, "city of the Cross") to remove pagan connotations, but already by the 8th century it was known as Caria after the region, which later gave rise to its modern Turkish name, Geyre.[6][8] In Byzantine times, the city was the seat of a fiscal administrative unit (dioikesis).[8]
Aphrodisias was sacked again by the rebel Theodore Mankaphas in 1188, and then by the Seljuk Turks in 1197. It finally fell under Turkish control towards the end of the 13th century.[6]
Geological history
The site is in an earthquake zone and has suffered a great deal of damage at various times, especially in severe tremors of the 4th and 7th centuries.[citation needed] An added complication was that one of the 4th century earthquakes altered the water table, making parts of the town prone to flooding. Evidence can be seen of emergency plumbing installed to combat this problem.
The city of Aphrodisias never fully recovered from the 7th century earthquake, and fell into disrepair. Part of the town was covered by the modern village of Geyre; some of the cottages were removed in the 20th century to reveal the older city. A new Geyre has been built a short distance away....Wikipedia
Processie / Procession
De Semana Santa is de in Spaanstalige landen gebruikte benaming voor de Goede Week, de week voor Pasen, die daar uitbundig wordt vormgegeven. In sommige andere katholieke landen worden in deze week veel religieuze beelden met paarse doeken afgedekt, de klokken zwijgen en het orgel blijft onberoerd. In Spanje en Zuid-Amerika daarentegen trekken processies uit die in een barokke vormgeving en met groots vertoon het lijden van Christus en Maria in de straten zichtbaar maken. Kenmerkend zijn de grote beeldengroepen die op vergulde platformen (paso's) worden rondgedragen. Over het algemeen heeft elke processie een paso met een tafereel uit het lijden van Christus en een paso met een droeve Maria. Deze processies zijn in essentie boeteprocessies. Er lopen steevast boetelingen in mee, die kleding dragen met puntvormige maskers, om de anonimiteit te waarborgen. Deze kostuums zijn later ook door de (overigens sterk anti-katholieke) Amerikaanse Ku Klux Klan gebruikt, waardoor het beeld van de Spaanse boeteling bij sommigen in het westen een negatieve connotatie heeft gekregen.
Spanje
The Semana Santa is the name used in Spanish-speaking countries for Holy Week, the week before Easter, which is exuberantly designed there. In some other Catholic countries, many religious statues are covered with purple cloths during this week, the bells are silent and the organ remains untouched. In Spain and South America, on the other hand, processions take place that show the sufferings of Christ and Mary in the streets in a baroque design and with great display. Characteristic are the large groups of statues that are carried around on gilded platforms (pasos). In general, each procession has a paso with a scene from the Passion of Christ and a paso with a sad Mary. These processions are essentially penitential processions. Penitents are invariably accompanied by them, who wear clothes with pointed masks to ensure anonymity. These costumes were later also used by the (for that matter strongly anti-Catholic) American Ku Klux Klan, so that the image of the Spanish penitent has acquired a negative connotation among some in the west.
Spain
Elevation 6,543 m (21,467 ft)
Location Uttarakhand, India
Range Gangotri Group, Garhwal Himalaya
Prominence 850 m (2,790 ft)
Shivling (6,543m). Shivling is a two summit mountain which rises not far from the snout of the Gangotri Glacier
Due to its unusual shape [which earned it its nickname 'Indian Matterhorn'] and easy access, Shivling is very popular among climbers.
CLIMBING History: After British exploration of the Gangotri Glacier in 1933, a German expedition led by R. Schwarzengruber climbed nearby peaks and did a reconnaissance of Shivling in 1938. They reported "no feasible route" on the mountain due to its steepness and the threat of falling séracs.
Shivling was first climbed on June 3, 1974 via the west ridge, by a team from the
Indo-Tibetan Border Police, led by Hukam Singh. The ridge is the lowest-angle feature on the mountain, but still involves serious mixed climbing, and is threatened by the sérac barrier noted by the Germans. The ridge leads to the col between the two summits; a steep snow/ice ridge then leads to the main summit
About ten routes have been put up on both of its summits, in spite of the fact that there are still unclimbed peaks not far away.
Regarding its name, connotations of Lord Shiva and the mountain's phallic shape are sometimes mentioned. To the millions of Indian Pilgrims who ventured anywhere near it it was known as Mahadev Ka Ling. or Mahdeo Ka Linga
When the first British surveyors ( Surveyor General John Hogdson and his assistant James Herbert reached Kedarnath in June 1817 they renamed the mountain Mount Moria (in honor of the new Governor General of the East India Company Lord Moria) and looking at the 4 peaks which surround Shivling in a fit religious zeal they renamed the mountains St. George, St Andrew, St. Patrick & St. David.
thankfully this was not allowed to stand and today it is known as Shivling the lesser of Shiva's Abode in the Great Himalayas
Myponga Beach Road
South Australia
This stretch of road is a great place for finding dead trees as subjects for this kind of image. I had been photographing down at the beach at sunset but came up here later in the evening. Clouds blew over very shortly unfortunately.
A common question asked of these types of shots is : is this a composite or an exposure blend? This particular shot isn't but there seems to be a connotation that people don't believe this kind of image is 'real' . Guess what - it isn't! Sure it was very dark and the stars were out but I would challenge anyone without superhuman sight who would claim to have seen the milky way in this detail to the naked eye. Also, the tree was lit with 5-10 seconds of torch waving - in 'real' life it was a black silhouette.
I on the other hand , disagree with blending images from scenes which taken at different locations , times, conditions. It's just a personal preference to present a version of a scene in one image, it's not a theme I would proselytize. Bottom line - I hope you enjoy the end result ;)
Excerpt from Wikipedia:
The Potato Eaters is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands. It is in the Van Gogh Museum in Amsterdam.
The original oil sketch of the painting is at the Kröller-Müller Museum in Otterlo, and he also made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.
During March and the beginning of April 1885 he sketched studies for the painting, and corresponded with his brother Theo, who was not impressed with his current work or the sketches Van Gogh sent him in Paris. He worked on the painting from April 13 until the beginning of May, when it was mostly done except for minor changes which he made with a small brush later the same year.
Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.
Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you...had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).
Vincent van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The Blessing before Supper. De Groux' work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in van Gogh's work.
Loschwitz Bridge (Loschwitzer Brücke) is a cantilever truss bridge over the river Elbe in Dresden. The Blaues Wunder bridge is one of the city symbols of Dresden. This blue-colored bridge (280 meters), which dates back to 1893, is also called the Loschwitzer Brücke. Until 1912, the bridge was named König-Albert Brücke, after the then King of Saxony. It connects the city districts of Blasewitz and Loschwitz.
The bridge is colloquially referred to as Blaues Wunder ("Blue Wonder"). This common name purportedly referred to the bridge's original blue colour and being seen as a technological miracle at the time; it is also understood to carry the cynical connotation referencing the German idiom: “Eein blaues Wunder erleben” what means "to experience an unpleasant surprise", reflecting the skeptical view of contemporary commentators.
After a two-year construction time, the bridge was completed in 1893. In the 19th century, a bridge of this length without supporting river piers was considered a technological masterpiece. Today the technology is less miraculous, but the bridge is a much-loved symbol of the city.
Near the end of World War II, the bridge was saved from being destroyed by an SS unit when two people cut the detonator wires to explosives. Preserved in its original construction, the advanced age of the structure in recent years has led to some traffic limiting. It was until the opening of the Waldschlösschenbrücke on 26 August 2013 the only Elbe crossing in Dresden East of the city centre.
In this shot, my fiancee is taking a stab at light painting with a sparkler. Hers may not have the musical connotations that my brother's attempts had but there is a certain organic quality to it. The loops, the rough heart-shape in the upper left portion of the image, all of these things seem to blend and meld together.
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.