Stand Development
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This was an idea of my Flickr friend Jim Hill. I already posted two of those images separately and he proposed that it could make a nice triptych if I included a third one with a modern digital look. He saw more in this triptych as well as he noted that the amount of people in the images could stand for the growing accessibility of photography. Kudos to you, Jim!
If you like this triptych, head over to Jim's page and leave him a few likes. If not, head over there all the more and find something you like. His night images from Chicago stand out and are among the most interesting work here on Flickr.
This also concludes my series of images from Corfu. Tomorrow, a series in Frankfurt will start.
Krzywiń is a small town in the province Greater Poland, with approximately 1,700 inhabitants. It was a private clergy town belonging to the Benedictine abbot in Lubin. The first preserved mention of Krzywiń as a town comes from 1272. In 1382, the city was destroyed during domestic fights, the reconstruction took place half a century later. In 1447, the location privilege was renewed. The center of the development was a Market Square with a town hall (the present one comes from 1905) in the south-eastern frontage. In the middle of the Market Square there is a statue of St. Wawrzyniec street and the frontages are built with houses from the turn of the 19th and 20th centuries.
The market was revitalized in 2014 and is a major tourist attraction.
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Krzywiń jest małym miastem w woj. wielkopolskim, liczącym około 1700 mieszkańców. Było prywatnym miastem duchownym, należącym do opata benedyktynów w Lubiniu. Pierwsza zachowana wzmianka o Krzywiniu jako mieście pochodzi z 1272 roku. W 1382 roku miasto zostało zniszczone podczas walk domowych, odbudowa nastąpiła pół wieku później. W 1447 miało miejsce odnowienie przywileju lokacyjnego. Ośrodkiem zabudowy był czworoboczny rynek z ratuszem ( obecny pochodzi z 1905 roku) w pierzei południowo-wschodniej. Na środku Rynku znajduje się figura św. Wawrzyńca a pierzeje zabudowane są domami z przełomu XIX i XX wieku.
Rynek był rewitalizowany w roku 2014 i jest dużą atrakcją turystyczną.
The Philosophical Hall at the Strahov Monastery, Prague, Czechia (the Czech Republic's official short name as of 2016)
(unless you made and paid for a reservation months beforehand, you are not allowed inside and can only admire the room from the doorway; photos can be taken only if you pay extra for a photo permit; best viewed enlarged for details)
Abbot Vaclav Mayer, during the last quarter of the 18th century, decided to build new library premises for the numerous acquisitions so he ordered the Philosophical Hall to be built by the naturalized Italian architect Johann Ignaz Palliardi. The hall is 32 meters long, 10 meters wide and 14 meters high, flanked on all sides by rich walnut wood bookcases. The highest shelves are only accessible from the gallery which is accessed by secret spiral staircases in both corners, masked by false book covers.
The ceiling was painted by Viennese artist Anton Maulbertsch over a period of 6 months, aided by only one assistant. The painting called The Spiritual Development of Mankind depicts the development of religion and science, guided by Divine Providence in the center of the painting, surrounded by virtues.
In the 19th century, Napoleon Bonaparte's wife Marie Louise visited the library and donated a four-volume work on Louvre museum paintings and Versailles gardens. The gift was stored in the tall bookcase that dominates the left side of the hall. On the top of the bookcase, there is a marble bust of Francis I, Emperor of Austria and Marie Louise's father.
The total number of volumes in the hall exceeds 50,000 works. In 2010, the Philosophical Hall was completely restored.
Photo 3 from the Des Moines Series
Mural on a building side in downtown Des Moines, Iowa
"You can almost hear her gasp!
A blonde woman from a vintage comic strip looks in wide-eyed shock at the graffiti spreading across the wall of a building downtown. ....
Weber ....The artist is known for politically and socially charged artwork along the lines of the current exhibition he guest-curated at Moberg Gallery, which helped arrange the Workspace commission.
But the new mural’s message is more subtle, he said. The blonde woman represents “the overall American consumer” or a “more traditional” Des Moines citizen reacting to downtown’s rapid growth. Partially hidden among the graffiti tags are Dopey from Disney’s “Snow White” and a pair of Smurfs, whose woodland habitat is threatened by development.
“In any city in America, there are murals everywhere. In Oakland, you can’t go two blocks without seeing one,” Weber said, praising downtown Des Moines’ own murals by artists Chris Vance, Van Holmgren and others. “Hopefully, in another year or two, we’ll have twice as many.”
Further development and change of perspective, in life and in creativity is always a gain for yourself and also for the people with whom you are in communication. The photo is a small project in which new ideas were implemented. Thank you for the support and implementation by my friend.
The growth and development of flowers occurs over several weeks from the germination of seeds planted in a ground or container to the time in which flowers bloom. The entire process happens in about five stages for most flowers. Although flower species have varying bloom periods, the general growth and development process is basically the same for all flowers. Moderate variations in the length of time of certain stages may differ by flower species. A Sprout Is Born
The seed begins the germination process during the first five days after being planted. During day 3 of the initial growth and development stage, imbibition begins as the dry seed takes in water from the ground. Next, the root emerges from the seed coat on or about day 4. On day 5, the root begins to extend and develops a root system at one end while a stem forms at the other end. The stem starts the process of making its way upward and eventually past the soil's surface. Hey, Bud
Stage 2 is the stage when a flower's leaves develop. Leaf development usually begins on day 6 and continues to day 26. Leaves begin as tiny rosettes (leaf buds). As the stem begins growing leaves, the development of a flower's primary root structure also culminates usually sometime after day 14. Even though leaf growth does not officially happen until stage 3, the first leaf buds may begin growing after day 18 and continue until day 26. A New Leaf on Life
Leaf growth overlaps slightly between stages 2 and 3 as buds evolve into new leaf growth. But stage 3 officially marks the entire leaf growth period at around day 19. During this stage, all of the leaf buds grow until each one reaches full maturity at about day 29. It's also possible for stage 4 to begin during the latter part (day 26) of the leaf growth stage.
Beginning of the Blossom Day 26 is the day in which most flowers experience inflorescence emergence. In other words, flower buds start appearing on the stem, signifying stage 4 of development. It often occurs toward the end of stage 3 leaf growth; however, it is treated as a separate stage because the period indicates the growth and development exclusively of flowers.
Bloom Times
Stage 5 commences the flower production phase. On approximately day 31, the first flower bud opens. Additional flower buds continue opening throughout a roughly 18-day bloom period until day 49 at which point flower production typically ends.
www.hunker.com/13426298/the-stages-of-a-flower-from-seed-...
Although the development time was longer here, the image appears flawless (no snowballs, no marble structures). Snowballs tend to occur in homogeneous areas. With negatives that have a structured background, such as here, the above-mentioned faults do not occur, or only after a much longer development time.
Fomatone 132 (brandnew batch 080348-01)
Lith A+B+D+water 30+30+20+1000 ml 7 minutes, followed by a Siena mix (for more colour) one minute.
It's that time of the year again. Hiawatha #336 arrives Chicago behind the class Amtrak B32-8WH which is subbing for a Charger that shit out a few days prior. The searchlight installations at the east end of Morgan Street were installed in the early 1980s.
Real estate development has exploded in the West Loop over the past decade. The Fulton Labs on the right were completed last year, and 345 N. Morgan on the left was completed a few months ago (still under construction when this picture was taken). The latter was built by Sterling Bay which is also overseeing the redevelopment of the former ADM flour mill. What you see here is only a fraction of what's to come to the West Loop in the next few years.
I took a couple of shots and stitched them together to form this panorama of the Ocean Reef Marina development. Im keen to see progress at this site as there will be a 50 m Sea water pool which I can see the beginnings of. I will be keen to use this pool when finished.
Here comes Mycena Crocata in different stages of development.
Hier sehen sie Mycena Crocata in verschiedenen Entwicklungsstufen.
I used different lenses at the Panasonic Lumix GH6.
Lumix 45-175mm with
Raynox DCR-150
Raynox DCR-250
Mitutoyo M-PLAN APO 5x
Sigma 30mm f1.4
The smallest one was taken as HR Stack with the Mitutoyo and then cropped to reach for 10:1.
Ricoh KR-5, Rikenon 50/2, Kodak Tri-X 400@640, +1 development, HC-110/dil. B, 8 min. Digitized with Nikon D700/ES-2.
Said Bear found some ribbon and decided it would look better on him than a jam jar. He likes mauve against green. So do I, so harmony prevails.
The Hagen Open-air Museum (LWL-Freilichtmuseum Hagen – Westfälisches Landesmuseum für Handwerk und Technik; English: "LWL Open-air Museum Hagen – Westphalian State Museum for Craft and Technics") is a museum at Hagen in the southeastern Ruhr area, North Rhine-Westphalia, Germany. It was founded, together with the Detmold Open-air Museum, in 1960, and was first opened to the public in the early 1970s. The museum is run by the Landschaftsverband Westfalen-Lippe (LWL, regional authority for Westphalia and Lippe within North Rhine-Westphalia). It lies in the Hagen neighbourhood of Selbecke south of Eilpe in the Mäckingerbach valley.
The open-air museum brings a bit of skilled-trade history into the present, and it takes a hands-on approach. On its grounds stretching for about 42 ha, not only are urban and rural trades simply "displayed" along with their workshops and tools, but in more than twenty of the nearly sixty rebuilt workshops, they are still practised, and interested visitors can, sometimes by themselves, take part in the production.
As early as the 1920s, there were efforts by a group of engineers and historical preservationists to preserve technological monuments for posterity. The initiator, Wilhelm Claas, even suggested the Mäckingerbach valley as a good place for a museum to that end. The narrow valley was chosen, as wind, water and wood were the three most important location factors for industry in the 18th and 19th centuries.
In 1960, the Westphalian Open-Air Museum was founded, and thirteen years later, the gates opened to the public. Unlike most open-air museums, which show everyday life on the farm or in the country as it was in days gone by, the Hagen Open-Air Museum puts the history of these activities in Westphalia in the fore. From the late 18th century through the early years of the Industrial Revolution to the highly industrialized society emerging in the early 20th century, the visitor can experience the development of these trades and the industry in the region.
Crafts and trades demonstrated at the Westphalian Open-Air Museum include ropemaking, smithing, brewing, baking, tanning, printing, milling, papermaking, and much more. A favourite attraction is the triphammer workshop shown in the image above. Once the hammer is engaged, a craftsman goes to work noisily forging a scythe, passing it between the hammer and the anvil underneath in a process called peening.
The Hagen Westphalian Open-Air Museum is open from March or April until October.
I really do not enjoy the process of taking sunset photos, having to be in the perfect place, at the perfect time is something I have difficulty with - and my lens being incompatible with (sensibly priced) filters doesn't exactly help either, but all in all despite the bitching, I'm pretty happy with how this one came out.
Observation in Development
Observation ID: 909
Observation Data ID: 2243
Norad ID: 40928
Ground Station: 13
Start Datetime: 2017-01-24T14:15:18Z
End Datetime: 2017-01-24T14:26:33Z
Transmitter ID: jtYNPDnTgVFswZdLNijeWV
Audio File: ogg file
Past observations of 40928: production - development
The Everlake housing development in Minneapolis burns on May 28, 2020, as flames consume the six-story residential building under construction near the city’s Third Precinct police station. The fire occurred during overnight unrest following the killing of George Floyd.
This image is part of a continuing series following the unrest and events in Minneapolis following the May 25th, 2020 murder of George Floyd.
The Animistic Vision in Education and Human Development by Daniel Arrhakis (2026)
The Animistic Vision in Education and Human Development
The place of animism in education has been evolving: it has ceased to be understood merely as a childhood “cognitive error” and has come to be recognized as a symbolic language capable of supporting freedom of learning, autonomy, and the child's connection with the world.
Today, animistic thinking can be seen as a bridge between children's imagination and the progressive development of critical, scientific, and relational thinking.
Pedagogical Perspective of Animism
In early childhood education, animism can function as a form of symbolic language that allows children to explore reality with curiosity, empathy, and imagination. Instead of being corrected immediately, it can be pedagogically mediated to promote meaningful learning.
Mediation tool: teachers can take advantage of the child's tendency to “give life” to objects and natural phenomena, introducing scientific and biological concepts in a playful way.
Respect for the stage of development: following the contributions of Jean Piaget, modern approaches recognize that children go through phases in which they confuse activity with life, gradually advancing towards a more objective understanding of living beings.
Holistic learning: animism favors the perception that the elements of the environment are interconnected, strengthening a deeper and more sensitive environmental education.
Freedom of learning and autonomy
The recognition of animistic thinking creates an environment in which the child feels authorized to formulate their own explanations about the world. This freedom stimulates curiosity, personal expression, and the gradual construction of autonomy.
Free exploration: values fundamental childhood rights, such as playing, exploring, imagining, and expressing ideas.
Development of agency: by interacting with the world as if it had intentions, the child develops empathy and a sense of responsibility for their actions.
Relationships with the non-human: animism allows for the creation of new ways of relating to animals, plants, rivers, objects, and natural phenomena, challenging excessively rigid or exclusively rationalistic teaching models.
Enchantment and reflection: imagination becomes a driving force for learning, allowing the child to learn through enchantment, investigation, and reflection, and not just repetition.
Animism in science education
In science education, animism can cease to be treated as a simple "childish belief" and become a pedagogical tool for empathy. It helps students in the early years develop ethical and environmental sensitivity even before mastering complex theoretical concepts.
1. Attributing agency to living beings
Instead of presenting plants and animals as static objects, the animistic approach highlights their activity, interdependence, and relationship with the environment.
The "will" of the plant: discussing how a young plant "seeks" light or directs its roots towards water and nutrients.
Plant communication: presenting relationships between fungi, roots, and trees as a network of communication and cooperation in the ecosystem.
Cooperation and symbiosis: exploring examples such as bees and flowers, the plover and the alligator, or lichens, showing how different living beings depend on each other.
A simple example is the relationship between bees and flowers: the bee collects nectar to produce honey and, as it moves between flowers, carries pollen on its legs, contributing to plant reproduction.
2. Personification to understand natural cycles
The personification of abiotic elements, such as water, rocks, or wind, can help the child visualize invisible or abstract natural processes.
The journey of the drop: creating narratives about the water cycle, representing evaporation, condensation, and rain as stages of a journey.
Ecological roles: assigning symbolic functions, such as "forest cleaners," to decomposers, facilitating the understanding of their role in the balance of ecosystems.
3. Interspecies Empathy
Animism can support the construction of an ecological ethic by bringing the child closer to other forms of life and reducing the distance between the "self" and the "other."
Animal perspective: propose activities such as "What if I were a bee?", leading the child to think about what the animal sees, seeks, and needs to survive.
Rights of nature: introduce the idea that rivers, forests, and other natural elements deserve care and protection.
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A visão animista na educação e no desenvolvimento humano
O lugar do animismo na educação tem vindo a evoluir: deixou de ser entendido apenas como um “erro cognitivo” infantil e passou a ser reconhecido como uma linguagem simbólica capaz de apoiar a liberdade de aprendizagem, a autonomia e a ligação da criança ao mundo.
Hoje, o pensamento animista pode ser visto como uma ponte entre a imaginação infantil e o desenvolvimento progressivo do pensamento crítico, científico e relacional.
Perspetiva pedagógica do animismo
Na educação infantil, o animismo pode funcionar como uma forma de linguagem simbólica que permite à criança explorar a realidade com curiosidade, empatia e imaginação. Em vez de ser corrigido de imediato, pode ser mediado pedagogicamente para favorecer aprendizagens significativas.
Ferramenta de mediação: os professores podem aproveitar a tendência da criança para “dar vida” a objetos e fenómenos naturais, introduzindo conceitos científicos e biológicos de forma lúdica.
Respeito pelo estágio de desenvolvimento: seguindo contributos de Jean Piaget, as abordagens modernas reconhecem que a criança passa por fases em que confunde atividade com vida, avançando gradualmente para uma compreensão mais objetiva dos seres vivos.
Aprendizagem holística: o animismo favorece a perceção de que os elementos do ambiente estão interligados, fortalecendo uma educação ambiental mais profunda e sensível.
Liberdade de aprendizagem e autonomia
O reconhecimento do pensamento animista cria um ambiente em que a criança se sente autorizada a formular explicações próprias sobre o mundo. Essa liberdade estimula a curiosidade, a expressão pessoal e a construção gradual da autonomia.
Exploração livre: valoriza direitos fundamentais da infância, como brincar, explorar, imaginar e expressar ideias.
Desenvolvimento da agência: ao interagir com o mundo como se este tivesse intenções, a criança desenvolve empatia e sentido de responsabilidade pelas suas ações.
Relações com o não humano: o animismo permite criar novas formas de relação com animais, plantas, rios, objetos e fenómenos naturais, desafiando modelos de ensino demasiado rígidos ou exclusivamente racionalistas.
Encantamento e reflexão: a imaginação torna-se um motor da aprendizagem, permitindo que a criança aprenda pelo encantamento, pela investigação e pela reflexão, e não apenas pela repetição.
Animismo no ensino das ciências
No ensino das ciências, o animismo pode deixar de ser tratado como uma simples “crença infantil” e tornar-se uma ferramenta pedagógica de empatia. Ele ajuda os alunos dos anos iniciais a desenvolverem sensibilidade ética e ambiental antes mesmo de dominarem conceitos teóricos complexos.
1. Atribuição de agência aos seres vivos
Em vez de apresentar plantas e animais como objetos estáticos, a abordagem animista destaca a sua atividade, interdependência e relação com o ambiente.
A “vontade” da planta: discutir como uma planta jovem “procura” a luz ou orienta as raízes em direção à água e aos nutrientes.
Comunicação vegetal: apresentar relações entre fungos, raízes e árvores como uma rede de comunicação e cooperação no ecossistema.
Cooperação e simbiose: explorar exemplos como as abelhas e as flores, o pássaro-palito e o jacaré, ou os líquenes, mostrando como diferentes seres vivos dependem uns dos outros.
Um exemplo simples é a relação entre abelhas e flores: a abelha recolhe o néctar para produzir mel e, ao deslocar-se entre flores, transporta pólen nas patas, contribuindo para a reprodução das plantas.
2. Personificação para compreender ciclos naturais
A personificação de elementos abióticos, como a água, as rochas ou o vento, pode ajudar a criança a visualizar processos naturais invisíveis ou abstratos.
A viagem da gota: criar narrativas sobre o ciclo da água, representando a evaporação, a condensação e a chuva como etapas de uma viagem.
Papéis ecológicos: atribuir funções simbólicas, como “limpadores da floresta”, aos decompositores, facilitando a compreensão do seu papel no equilíbrio dos ecossistemas.
3. Empatia interespécies
O animismo pode apoiar a construção de uma ética ecológica ao aproximar a criança de outras formas de vida e ao reduzir a distância entre o “eu” e o “outro”.
Perspetiva animal: propor atividades como “E se eu fosse uma abelha?”, levando a criança a pensar no que o animal vê, procura e necessita para sobreviver.
Direitos da natureza: introduzir a ideia de que rios, florestas e outros elementos naturais merecem cuidado e proteção.
"Growth for the sake of growth is the ideology of the cancer cell." – Edward Abbey
Amid overdevelopment along a busy freight and commuter rail corridor, Utah Railway's RUT312 local passes through CP C784 Salt Lake City with 24 cars on Oct. 29, 2022.
I’ve been thinking recently that there is something missing from flickr, (well something that I haven’t found yet). A kind of place (group) that has the ability to inspire, to welcome experimentation, a place that has a lot more depth than the usual shallow resting place for hundreds of images. I want equality, a place that isn’t run by power obsessed admin's, a place that isn’t a all closed network of buddies, a place that welcomes true thought, true learning, true experimentation. I want to visit to contribute, to experiment, to crit others work, to have a balanced group of people that respect others values. I want a place that doesn’t have any irritating insecure people trying to tell you how good they are. Yes I'm wanting a lot and I do get these things from different groups (id say about 3 or 4 that I visit regularly) but I want them all in one place.
To be honest, I would like to cherry pick the people I value (for many reasons) and get them together and create a new group that would be fantastic. But I also don’t want to upset anybody…and god not another group, please no not more groups.
I also have been wondering if there isn’t a better way of developing ideas, sparking inspiration. For me I would love to get more involved in a discussion-based group concerning the ideas behind photography. Kind of the deeper physiological elements to why we take photos, what the viewer feels, presenting challenging concepts, blar blar blar. I feel that to push in these directions is fascinating. As some of you may have observed, I've been trying to get this type of thing going in the threads of some groups, but it doest seem to be working. What I'm asking here I suppose is does anybody know of any groups that offer this type of thing or do I have to set one up, or do I try and push one of the groups I'm involved in into this direction? Also I wonder if there is any others out there, who are committed enough and have the desire to challenge them selves, push themselves in different directions. I only know of a few people here on flicker that I ‘Guess’ would welcome this type of direction but id truly love to meet more. This isn’t about just image quality (that is a given) its about ideas, experimentation, forging new ground (if that’s possible)
Anyway, any thoughts out there?
Note: this is taken on Constantine beach at sunset this summer. I got down very low and used a polarizer to maintain the foreground leading lines. Anyway I hope you like it.