features photos on Flickr

Pictures from the replacement of escalators 7-9 at Liverpool St station. These pictures cover the RoM period removal of materials taking out the old escalators

Escalator knowledge londonist.com/london/features/escalators-facts-london-und...

LU Escalators history and vital statistics www.davros.org/rail/culg/vertical.html

ART by 4me 4you

Artist: Ruozhe Xue

4me4you features “ xue ruozhe: chronoscape”.

During a recent visit to Rosenfeld Gallery, 4me4you had the opportunity to engage with the thought-provoking exhibition "Xue Ruozhe: Chronoscape" by the artist Ruozhe Xue. This compelling body of work offers a profound meditation on the intersection of time, memory, and painting. In Xue’s hands, painting becomes a time-based medium, where every brushstroke serves as both a reflection of the artist's personal experience and a window into broader, universal concepts of temporality and existence.

At the heart of Xue’s practice is the belief that painting is an evolving process, not just a static act of representation. Time, for Xue, is woven into the very fabric of the artwork—its materiality, its layers, and the artist’s interaction with the medium. Each gesture and each layer of colour is a moment in time, a mark of passage. The works in Chronoscapeinvite the viewer to witness this ongoing dialogue between the artist and the medium, where the passage of time itself is not just a theme but an integral part of the work's form and content. Through a restrained yet emotionally charged methodology, Xue creates paintings that transcend traditional notions of figuration, situating them within the broader context of contemporary art and media. There is a palpable psychological tension in Xue’s works, where reality is subtly distorted, suspended, and re-contextualised—pushing the limits of perception and inviting reflection on the fleeting, fragile nature of life itself.

A cornerstone of Xue’s Chronoscape is the artist’s ongoing series YYYY-MM-DD, where Xue paints a single flower every day, beginning on the day their youngest daughter was born. Each flower is marked with the date, creating a visual record of time’s passage. This daily ritual has become a lifelong practice, a meditation on the transitory nature of both the subject and the artist’s own experience. The flowers, in their quiet simplicity, reflect the constant flow of time, and through their repetitive yet unique presence, Xue offers a profound exploration of how we relate to the moments that make up our lives. This ritual, though intimate, extends beyond the personal to speak to broader themes of endurance, memory, and the human need to mark time in an ever-accelerating world. In this sense, YYYY-MM-DDoffers a quiet counterpoint to the rush of contemporary life, creating a space for reflection and resilience in the face of uncertainty.

Xue’s work also reflects on the very processes of making art, often folding self-referential layers into the work. In the My Studio-based Practice series, for instance, a bouquet of orange lilies from YYYY-MM-DD reappears in a minimalist studio setting. Here, a young woman in black paints at her canvas, but in the painting before her, the lilies have already withered—creating a temporal disjunction that reflects the cyclical nature of life and art. This recursive approach to time and space creates a layered, intertextual dialogue between the artist’s past and present works, offering the viewer an invitation to explore the complex ways in which time and memory shape both the artist and their art.

In works such as The Misplaced Studio, Xue delves even further into the concept of time, space, and the relationship between artist, model, and image. In this painting, three identical figures exist in slightly distorted, disjointed spaces, connected by painted tape in a trompe l’oeil effect. A translucent white cloth, often used in studio settings to establish a scene, becomes a veil that obscures the figure behind it, alluding to the ancient Greek myth of the painters Zeuxis and Parrhasius. In this myth, Zeuxis creates grapes so lifelike that birds attempt to eat them, only for him to realize that the curtain concealing Parrhasius’s painting is itself part of the artwork. In The Misplaced Studio, the veil functions as a metaphor for the illusionary nature of art and space, where time and reality are rendered fluid, ambiguous, and unstable.

Through these works, Xue continues to push the boundaries of painting, interrogating its relationship to time, identity, and the act of creation itself. Their art is a testament to the quiet, ongoing negotiation between past and present, self and other, and the complex, often elusive nature of existence. In Chronoscape, time is not just a theme but the very medium through which the work is created, woven into every brushstroke, every layer of paint. As the viewer moves through the exhibition, they are invited to contemplate not only the artwork but the passage of time itself, and the profound ways in which art can reflect, embody, and transform that passage into a visual language all its own.

safety features card by ramsaytravels

ART by 4me 4you

4me4you features “Lost Souls of Saturn”.

Artist: Seth Troxler & Phil Moffa

Lost Souls of Saturn, consisting primarily of Seth Troxler and Phil Moffa alongside other undisclosed participants, represents an innovative fusion of music, technology, and narrative. Rejecting traditional formats, they traverse various mediums—from vinyl records to digital platforms, art installations to augmented reality, and live performances—crafting an interconnected experience.

Through their endeavors, Troxler, Moffa, and collaborators seek to challenge perceptions and reshape our understanding of reality. They blend the psychedelic ethos of science fiction and early rave culture with contemporary art and postmodern philosophy, endeavouring to push the boundaries of artistic expression.

Their performances have graced esteemed venues such as the Metropolitan Museum of Art in New York City, Foundation Beyeler in Basel, and the Saatchi Gallery in London.

Noteworthy collaborations include immersive experiences with installation artists like Olafur Eliasson and Ernesto Neto.

In February 2024, Lost Souls of Saturn presents "Reality" at W1 Curates in London, unveiling an augmented reality comic book and companion app set within an immersive gallery environment.

Teaming up with comic artist and AR pioneer Rob Shields, along with Abstract Comic’s co-founder Mike Bundlie, there creation represents a groundbreaking immersive artwork.

Each page of the comic, visible to the naked eye, transforms into animated 3D vistas when viewed through the LSOS app, creating a unique synthetic experience.

The integration of LSOS's soundtrack with the comic book in augmented reality marks a significant milestone.

The music evolves and intertwines seamlessly with the narrative, enhancing emotional engagement and offering readers a truly immersive encounter.

This pioneering synthesis of art and music heralds a new era of collaboration and exploration in the realm of soundtracks, aiming to redefine the boundaries of artistic expression.

American Museum of Natural History: Reptiles by Virtual Museum of Natural and Human History

ANATOMY

Reptiles, the group that gave rise through evolution to birds and mammals, have the same basic body structure as those higher vertebrates. Yet just as birds and mammals changed from their reptilian ancestors, reptiles themselves underwent great changes over their millions of years of existence. This exhibit shows some anatomical features of the reptilian body and shows how structures differ among major groups of reptiles.

RETICULATED PYTHON (Python reticulatus)

Typically, snakes have a greatly elongated body and lack limbs. Some snakes such as this python (see partial skeleton) retain vestiges of the hind limbs, however. This skeleton is 7 meters (23 feet) long. Its 321 vertebrae in the body and 91 in the tail number close to the maximum known in snakes; individuals of some species may have fewer than 130 vertebrae. (Human beings have only 24.) A snake does not add vertebrae and ribs as it grows, but has its full amount before it is born or hatched.

KOMODO DRAGON LIZARD (Varanus komodoensis)

AMERICAN ALLIGATOR (Alligator mississippiensis)

These basically similar skeletons differ in many details evident only on close examination. As an aquatic animal, the alligator has a somewhat high, flattened tail for swimming and relatively small legs and feet. The land-dwelling Dragon has a more rounded tail and larger, more powerful legs. The large, heavy skull of the alligator would be a burden on land but is supported by the water. Another difference in these skeletons is the presence of abdominal ribs (gastralia) in the Alligator.

SKIN

Skin, the outermost covering, protects the body from micro-organisms, poisons and physical damage, retains fluids and minerals, and provides structural support. Its sensory receptors receive stimuli (eg, touch, temperature) from the environment, and it maintains the colors and some structural modifications of the species.

Reptile skin typically consists of rows of raised, hardened scales usually connected by soft, flexible tissue. The outermost layer (epidermis) of the skin forms the hard (keratinized) part of the scales. Such scales differ from fish scales, which form in a different part (dermis) of the skin. Amphibians, unlike reptiles, lack epidermal scales and usually maintain a moist skin that may function in respiration. Reptile skin lacks the feathers and hair that characterize birds and mammals, respectively.

Extensive use of reptile skins for purses, shoes and other leather products has led to massive slaughter, especially of crocodilians. Consequently, the survival of many species is endangered.

SKIN STRUCTURE

This cross-section of lizard skin shows two overlapping scales (350X). Important features are:

EPIDERMIS: Outermost skin layer. Its germinative cells produce daughter cells that move outward and transform into the hard, protective outer scale surface through the process of keratinization. Keratin is a strong protein in epidermal derivatives such as claws, fingernails and beaks. Periodically, the keratinized layer is shed and replaced (Growth and Longevity exhibit, Case 2).

DERMIS: Deeper, thicker skin layer, composed chiefly of fibrous connective tissue. Most pigment cells lie within the dermis. Most blood vessels (not shown) are in both the dermis and epidermis.

HINGE REGION: This area with loose folds allows distension of the skin between the keratinized scales.

SCALE TYPES

Reptile scales vary in size, shape and number according to location on the body. For example, in most snakes the scales on the belly (ventral scutes) are enlarged transversely and are important in locomotion. These differ distinctly from the scales on the back.

Reptiles inherit their basic scale pattern, though temperature during embryonic development may influence scale size and number. Comparison of distantly related species reveals a wide variety of scale types. This diversity probably reflects adaptations for various functions, such as body water balance and reception of solar radiation. The lizards here illustrate various reptile scales.

OSTEODERMS

The deep layer of the skin (dermis) in many kinds of lizards, all crocodilians and on the legs and tails of some turtles contains discs or nodules of protective bone. Often these exist in rows corresponding to those of the outer epidermal scales. Nearly all surfaces of the South American Caiman, Caiman crocodilus, whose skin is shown here, are protected by osteoderms, which appear as numerous light patches on the x-ray photograph (claws and bones of the skull are light also).

COLOR CHANGE

In some lizards, particularly True Chameleons of the Old World and Anoles (American Chameleons) of the New World, individuals can change color completely and rapidly. Color change is stimulated by various factors, including excitement, temperature, lighting, and shade of the background behind the animal.

The Green Anole, Anolis carolinensis, shown here can change from brown to brilliant green, or vice versa, in a matter of minutes. Cross-sections (1,000X) show how color change is caused by movement of pigment within melanophores (brown pigment cells).

TEETH

Reptiles of different species may vary greatly in the food they eat, and this shows in their teeth. Seen here are the lower jaws of several reptiles, together with the enlarged drawings of the teeth. Teeth may differ in size and shape from one part of a jaw to another, serving different functions (piercing and holding, cutting, chewing), or may all be much the same. Unlike most mammals, which produce only two sets of teeth in a lifetime, most reptiles are continuously replacing teeth. A lizard may produce hundreds of new teeth in a year. In addition to teeth in the usual places on the jaws, snakes and some lizards also have teeth on bones on the roof of the mouth.

SKULLS

Evolutionary change may involve loss of parts (for example, limbs of snakes), multiplication of parts (vertebrae of snakes) or modification of shape and size of parts. These skulls exemplify such differences among certain bones in four major groups of reptiles.

TURTLE SHELLS

The shell, which may include up to 30 percent of a turtle's weight, is mostly bone, overlaid by skin. The large, hard plates conspicuous on most turtle shells are keratinized epidermal scales (scutes). The shell's bone forms by fusion of ossified structures in the deep skin (dermis) with vertebrae, ribs, and pectoral and pelvic girdles.

The epidermal scales of the upper shell (carapace) of this Snapping Turtle, Chelydra serpentina, are removed from the left side to reveal the bones beneath. Sutures between scales and those between underlying bones are not directly aligned, a feature which may result in greater strength.

LOGGERHEAD TURTLE, Caretta caretta

The turtle's skeleton is ingenious architecturally and peculiar biologically. The ribs, expanded and joined, form the main part of the upper shell (carapace), and the body vertebrae are immovably fused as part of the shell. Most unusual is the position of the dorsal bones of the shoulder girdle; these lie beneath the ribs rather than atop them, as in other vertebrates. The derivation of the bones of the lower shell (plastron) is unclear; they may incorporate ventral elements of the shoulder girdle and abdominal ribs.

Bony shell elements are somewhat reduced in these sea turtles. A typical land or fresh-water turtle would have a relatively larger, solid plastron firmly joined at the sides to the carapace.

RR Media E: rrphotomedia@gmail.com W: https://www.wsimages.com by William Stone 24M views

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FEATURES ADV4 by Gerry Slabaugh

UPPER GEYSER BASIN - Geyser Hill Loop by Peterson Ph♡tography

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The Upper Geyser Basin Trail crosses the Firehole River via a footbridge near Old Faithful, offering access to some of Yellowstone’s most iconic geothermal features. This crossing is a gateway to Geyser Hill and beyond, where steam, color, and eruption await.

🌉 Crossing the Firehole River

• Location: Just northeast of the Old Faithful Geyser, the footbridge spans the Firehole River, connecting the main boardwalk to the Geyser Hill Loop

• Trailhead: Begins at the Old Faithful Visitor Education Center

• Trail Type: Boardwalk and paved paths—easy and accessible

• Distance:

• Geyser Hill Loop: ~1.3 miles round trip

• Extended Upper Geyser Basin Trail: Up to 5 miles if continuing to Biscuit Basin

Thank you for your visit and any faves or comments are always greatly appreciated!

~Sonja

Da Cap Guy Pen | Promotional Da Cap Guy Pen by Diane M

Features:

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Bobble head, fun smile, feather hair.

Black ink

Imprinting: 2" x 1/2"

Product Size: 8" Tall